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\n \n 2024\n \n \n (3)\n \n \n

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\n \n\n \n \n Schiller, D., Yu, A. N., Alia-Klein, N., Becker, S., Cromwell, H. C., Dolcos, F., Eslinger, P. J., Frewen, P., Kemp, A. H., Pace-Schott, E. F., Raber, J., Silton, R. L., Stefanova, E., Williams, J. H., Abe, N., Aghajani, M., Albrecht, F., Alexander, R., Anders, S., Aragón, O. R., Arias, J. A., Arzy, S., Aue, T., Baez, S., Balconi, M., Ballarini, T., Bannister, S., Banta, M. C., Barrett, K. C., Belzung, C., Bensafi, M., Booij, L., Bookwala, J., Boulanger-Bertolus, J., Boutros, S. W., Bräscher, A., Bruno, A., Busatto, G., Bylsma, L. M., Caldwell-Harris, C., Chan, R. C., Cherbuin, N., Chiarella, J., Cipresso, P., Critchley, H., Croote, D. E., Demaree, H. A., Denson, T. F., Depue, B., Derntl, B., Dickson, J. M., Dolcos, S., Drach-Zahavy, A., Dubljević, O., Eerola, T., Ellingsen, D., Fairfield, B., Ferdenzi, C., Friedman, B. H., Fu, C. H., Gatt, J. M., de Gelder , B., Gendolla, G. H., Gilam, G., Goldblatt, H., Gooding, A. E. K., Gosseries, O., Hamm, A. O., Hanson, J. L., Hendler, T., Herbert, C., Hofmann, S. G., Ibanez, A., Joffily, M., Jovanovic, T., Kahrilas, I. J., Kangas, M., Katsumi, Y., Kensinger, E., Kirby, L. A., Koncz, R., Koster, E. H., Kozlowska, K., Krach, S., Kret, M. E., Krippl, M., Kusi-Mensah, K., Ladouceur, C. D., Laureys, S., Lawrence, A., Li, C. R., Liddell, B. J., Lidhar, N. K., Lowry, C. A., Magee, K., Marin, M., Mariotti, V., Martin, L. J., Marusak, H. A., Mayer, A. V., Merner, A. R., Minnier, J., Moll, J., Morrison, R. G., Moore, M., Mouly, A., Mueller, S. C., Mühlberger, A., Murphy, N. A., Muscatello, M. R. A., Musser, E. D., Newton, T. L., Noll-Hussong, M., Norrholm, S. D., Northoff, G., Nusslock, R., Okon-Singer, H., Olino, T. M., Ortner, C., Owolabi, M., Padulo, C., Palermo, R., Palumbo, R., Palumbo, S., Papadelis, C., Pegna, A. J., Pellegrini, S., Peltonen, K., Penninx, B. W., Pietrini, P., Pinna, G., Lobo, R. P., Polnaszek, K. L., Polyakova, M., Rabinak, C., Helene Richter, S., Richter, T., Riva, G., Rizzo, A., Robinson, J. L., Rosa, P., Sachdev, P. S., Sato, W., Schroeter, M. L., Schweizer, S., Shiban, Y., Siddharthan, A., Siedlecka, E., Smith, R. C., Soreq, H., Spangler, D. P., Stern, E. R., Styliadis, C., Sullivan, G. B., Swain, J. E., Urben, S., Van den Stock, J., vander Kooij , M. A., van Overveld , M., Van Rheenen, T. E., VanElzakker, M. B., Ventura-Bort, C., Verona, E., Volk, T., Wang, Y., Weingast, L. T., Weymar, M., Williams, C., Willis, M. L., Yamashita, P., Zahn, R., Zupan, B., & Lowe, L.\n\n\n \n \n \n \n \n The Human Affectome.\n \n \n \n \n\n\n \n\n\n\n Neuroscience & Biobehavioral Reviews, 158: 105450. 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{SCHILLER2024105450,\n\tabstract = {Over the last decades, theoretical perspectives in the interdisciplinary field of the affective sciences have proliferated rather than converged due to differing assumptions about what human affective phenomena are and how they work. These metaphysical and mechanistic assumptions, shaped by academic context and values, have dictated affective constructs and operationalizations. However, an assumption about the purpose of affective phenomena can guide us to a common set of metaphysical and mechanistic assumptions. In this capstone paper, we home in on a nested teleological principle for human affective phenomena in order to synthesize metaphysical and mechanistic assumptions. Under this framework, human affective phenomena can collectively be considered algorithms that either adjust based on the human comfort zone (affective concerns) or monitor those adaptive processes (affective features). This teleologically-grounded framework offers a principled agenda and launchpad for both organizing existing perspectives and generating new ones. Ultimately, we hope the Human Affectome brings us a step closer to not only an integrated understanding of human affective phenomena, but an integrated field for affective research.},\n\tauthor = {Daniela Schiller and Alessandra N.C. Yu and Nelly Alia-Klein and Susanne Becker and Howard C. Cromwell and Florin Dolcos and Paul J. Eslinger and Paul Frewen and Andrew H. Kemp and Edward F. Pace-Schott and Jacob Raber and Rebecca L. Silton and Elka Stefanova and Justin H.G. Williams and Nobuhito Abe and Moji Aghajani and Franziska Albrecht and Rebecca Alexander and Silke Anders and Oriana R. Arag{\\'o}n and Juan A. Arias and Shahar Arzy and Tatjana Aue and Sandra Baez and Michela Balconi and Tommaso Ballarini and Scott Bannister and Marlissa C. Banta and Karen Caplovitz Barrett and Catherine Belzung and Moustafa Bensafi and Linda Booij and Jamila Bookwala and Julie Boulanger-Bertolus and Sydney Weber Boutros and Anne-Kathrin Br{\\"a}scher and Antonio Bruno and Geraldo Busatto and Lauren M. Bylsma and Catherine Caldwell-Harris and Raymond C.K. Chan and Nicolas Cherbuin and Julian Chiarella and Pietro Cipresso and Hugo Critchley and Denise E. Croote and Heath A. Demaree and Thomas F. Denson and Brendan Depue and Birgit Derntl and Joanne M. Dickson and Sanda Dolcos and Anat Drach-Zahavy and Olga Dubljevi{\\'c} and Tuomas Eerola and Dan-Mikael Ellingsen and Beth Fairfield and Camille Ferdenzi and Bruce H. Friedman and Cynthia H.Y. Fu and Justine M. Gatt and Beatrice {de Gelder} and Guido H.E. Gendolla and Gadi Gilam and Hadass Goldblatt and Anne Elizabeth Kotynski Gooding and Olivia Gosseries and Alfons O. Hamm and Jamie L. Hanson and Talma Hendler and Cornelia Herbert and Stefan G. Hofmann and Agustin Ibanez and Mateus Joffily and Tanja Jovanovic and Ian J. Kahrilas and Maria Kangas and Yuta Katsumi and Elizabeth Kensinger and Lauren A.J. Kirby and Rebecca Koncz and Ernst H.W. Koster and Kasia Kozlowska and S{\\"o}ren Krach and Mariska E. Kret and Martin Krippl and Kwabena Kusi-Mensah and Cecile D. Ladouceur and Steven Laureys and Alistair Lawrence and Chiang-shan R. Li and Belinda J. Liddell and Navdeep K. Lidhar and Christopher A. Lowry and Kelsey Magee and Marie-France Marin and Veronica Mariotti and Loren J. Martin and Hilary A. Marusak and Annalina V. Mayer and Amanda R. Merner and Jessica Minnier and Jorge Moll and Robert G. Morrison and Matthew Moore and Anne-Marie Mouly and Sven C. Mueller and Andreas M{\\"u}hlberger and Nora A. Murphy and Maria Rosaria Anna Muscatello and Erica D. Musser and Tamara L. Newton and Michael Noll-Hussong and Seth Davin Norrholm and Georg Northoff and Robin Nusslock and Hadas Okon-Singer and Thomas M. Olino and Catherine Ortner and Mayowa Owolabi and Caterina Padulo and Romina Palermo and Rocco Palumbo and Sara Palumbo and Christos Papadelis and Alan J. Pegna and Silvia Pellegrini and Kirsi Peltonen and Brenda W.J.H. Penninx and Pietro Pietrini and Graziano Pinna and Rosario Pintos Lobo and Kelly L. Polnaszek and Maryna Polyakova and Christine Rabinak and S. {Helene Richter} and Thalia Richter and Giuseppe Riva and Amelia Rizzo and Jennifer L. Robinson and Pedro Rosa and Perminder S. Sachdev and Wataru Sato and Matthias L. Schroeter and Susanne Schweizer and Youssef Shiban and Advaith Siddharthan and Ewa Siedlecka and Robert C. Smith and Hermona Soreq and Derek P. Spangler and Emily R. Stern and Charis Styliadis and Gavin B. Sullivan and James E. Swain and S{\\'e}bastien Urben and Jan {Van den Stock} and Michael A. {vander Kooij} and Mark {van Overveld} and Tamsyn E. {Van Rheenen} and Michael B. VanElzakker and Carlos Ventura-Bort and Edelyn Verona and Tyler Volk and Yi Wang and Leah T. Weingast and Mathias Weymar and Claire Williams and Megan L. Willis and Paula Yamashita and Roland Zahn and Barbra Zupan and Leroy Lowe},\n\tdate-added = {2024-03-07 19:22:30 +0000},\n\tdate-modified = {2024-03-07 19:22:55 +0000},\n\tdoi = {https://doi.org/10.1016/j.neubiorev.2023.105450},\n\tjournal = {Neuroscience & Biobehavioral Reviews},\n\tkeywords = {Emotion},\n\tpages = {105450},\n\ttitle = {The Human Affectome},\n\turl = {https://www.sciencedirect.com/science/article/pii/S0149763423004190},\n\tvolume = {158},\n\tyear = {2024}\n\t}\n\n

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\n \n\n \n \n Lahdelma, I., & Eerola, T.\n\n\n \n \n \n \n \n Valenced Priming with Acquired Affective Concepts in Music: Automatic Reactions to Common Tonal Chords.\n \n \n \n \n\n\n \n\n\n\n Music Perception, 41(3): 161-175. 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"Valenced$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lahdelmaeerola2024,\n\tauthor = {Lahdelma, I. and Eerola, T.},\n\tdate-added = {2024-01-08 12:49:53 +0000},\n\tdate-modified = {2024-02-29 10:23:15 +0000},\n\tdoi = {https://doi.org/10.1525/mp.2024.41.3.161},\n\tjournal = {Music Perception},\n\tkeywords = {Consonance/dissonance},\n\tnumber = {3},\n\tpages = {161-175},\n\ttitle = {Valenced Priming with Acquired Affective Concepts in Music: Automatic Reactions to Common Tonal Chords},\n\turl = {https://doi.org/10.1525/mp.2024.41.3.161},\n\tvolume = {41},\n\tyear = {2024},\n\tbdsk-url-1 = {https://doi.org/10.1525/mp.2024.41.3.161}}\n\n

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\n \n\n \n \n Eerola, T., & Clayton, M.\n\n\n \n \n \n \n \n onsetsync: An R Package for Onset Synchrony Analysis.\n \n \n \n \n\n\n \n\n\n\n Journal of Open Source Software, 9(93): 5395. 2024.\n \n\n\n\n
\n\n\n\n \n \n $\"onsetsync:$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 2 downloads\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2024joss,\n\tauthor = {Eerola, T. and Clayton, M.},\n\tdate-added = {2024-01-08 12:49:40 +0000},\n\tdate-modified = {2024-01-08 12:49:40 +0000},\n\tdoi = {10.21105/joss.05395},\n\tjournal = {Journal of Open Source Software},\n\tkeywords = {Computational modelling},\n\tnumber = {93},\n\tpages = {5395},\n\tpublisher = {The Open Journal},\n\ttitle = {onsetsync: An R Package for Onset Synchrony Analysis},\n\turl = {https://doi.org/10.21105/joss.05395},\n\tvolume = {9},\n\tyear = {2024},\n\tbdsk-url-1 = {https://doi.org/10.21105/joss.05395}}\n\n

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\n \n 2023\n \n \n (4)\n \n \n

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\n \n\n \n \n Lahdelma, I., & Eerola, T.\n\n\n \n \n \n \n Data-driven theory formulation or theory-driven data interpretation? Comment on ``Consonance and dissonance perception. A critical review of the historical sources, multidisciplinary findings, and main hypotheses'' by Di Stefano et al.\n \n \n \n\n\n \n\n\n\n Physics of Life Reviews, 45: 56-59. 2023.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lahdelma2023c,\n\tauthor = {Lahdelma, I. and Eerola, T.},\n\tdate-added = {2024-01-08 12:49:53 +0000},\n\tdate-modified = {2024-01-08 12:49:53 +0000},\n\tdoi = {https://doi.org/10.1016/j.plrev.2023.04.005},\n\tjournal = {Physics of Life Reviews},\n\tkeywords = {Consonance/dissonance},\n\tpages = {56-59},\n\ttitle = {Data-driven theory formulation or theory-driven data interpretation? Comment on ``Consonance and dissonance perception. A critical review of the historical sources, multidisciplinary findings, and main hypotheses'' by Di Stefano et al.},\n\tvolume = {45},\n\tyear = {2023},\n\tbdsk-file-1 = {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}}\n\n

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\n \n\n \n \n Armitage, J., Lahdelma, I., Eerola, T., & Ambrazevi ̌cius, R.\n\n\n \n \n \n \n \n Culture influences conscious appraisal of, but not automatic aversion to, acoustically rough musical intervals.\n \n \n \n \n\n\n \n\n\n\n Plos One, 18(12): e0294645. 2023.\n \n\n\n\n
\n\n\n\n \n \n $\"Culture$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{armitage2023,\n\tauthor = {Armitage, J. and Lahdelma, I. and Eerola, T. and Ambrazevi{\\v c}ius, R.},\n\tdate-added = {2024-01-08 12:49:45 +0000},\n\tdate-modified = {2024-02-29 10:22:30 +0000},\n\tjournal = {Plos One},\n\tkeywords = {Consonance/dissonance},\n\tnumber = {12},\n\tpages = {e0294645},\n\ttitle = {Culture influences conscious appraisal of, but not automatic aversion to, acoustically rough musical intervals},\n\turl = {https://doi.org/10.1371/journal.pone.0294645},\n\tvolume = {18},\n\tyear = {2023},\n\tbdsk-url-1 = {https://doi.org/10.1371/journal.pone.0294645}}\n\n

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\n \n\n \n \n Eerola, T., Clayton, M., & Emms, P.\n\n\n \n \n \n \n \n movementsync: Analysis and Visualisation of Musical Audio and Video Movement Synchrony Data.\n \n \n \n \n\n\n \n\n\n\n 2023.\n R package version 0.1.4\n\n\n\n
\n\n\n\n \n \n $\"movementsync:$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@manual{eerolaclayton_2023a,\n\tauthor = {Eerola, T. and Clayton, M. and Emms, P.},\n\tdate-added = {2023-06-10 18:58:01 +0100},\n\tdate-modified = {2023-06-10 18:58:48 +0100},\n\tkeywords = {Computational modelling},\n\tnote = {R package version 0.1.4},\n\ttitle = {movementsync: Analysis and Visualisation of Musical Audio and Video Movement Synchrony Data},\n\turl = {https://cloud.r-project.org/package=movementsync},\n\tyear = {2023},\n\tbdsk-url-1 = {https://cloud.r-project.org/package=movementsync}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Future Perspectives and Challenges.\n \n \n \n\n\n \n\n\n\n Music and Mental Imagery, pages 281-288. Küssner, M., Taruffi, L., & Floridou, G. A., editor(s). Routledge, London, UK, 2023.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 2 downloads\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola2021a,\n\taddress = {London, UK},\n\tauthor = {Eerola, T.},\n\tchapter = {Future Perspectives and Challenges},\n\tdate-added = {2022-12-19 14:28:44 +0000},\n\tdate-modified = {2022-12-19 14:33:38 +0000},\n\tdoi = {10.4324/9780429330070-30},\n\teditor = {K{\\"u}ssner, M. and Taruffi, L. and Floridou, G. A.},\n\tkeywords = {Mental imagery & music},\n\tpages = {281-288},\n\tpublisher = {Routledge},\n\ttitle = {Music and Mental Imagery},\n\tyear = {2023},\n\tbdsk-url-1 = {https://doi.org/10.4324/9780429330070-30}}\n\n

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\n \n 2022\n \n \n (10)\n \n \n

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\n \n\n \n \n Eerola, T., & Clayton, M.\n\n\n \n \n \n \n \n onsetsync - Analysis and Visualisation of Synchronisation of Music Onset Data.\n \n \n \n \n\n\n \n\n\n\n 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"onsetsync$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@manual{eerolaclayton_2022a,\n\tauthor = {Eerola, T. and Clayton, M.},\n\tdate-added = {2023-06-10 18:57:13 +0100},\n\tdate-modified = {2023-06-10 18:59:47 +0100},\n\tkeywords = {Computational modelling},\n\ttitle = {onsetsync - Analysis and Visualisation of Synchronisation of Music Onset Data},\n\turl = {https://github.com/tuomaseerola/onsetsync},\n\tyear = {2022},\n\tbdsk-url-1 = {https://github.com/tuomaseerola/onsetsync}}\n\n

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\n \n\n \n \n Grimaud, A. M., & Eerola, T.\n\n\n \n \n \n \n \n Emotional expression through musical cues: A comparison of production and perception approaches.\n \n \n \n \n\n\n \n\n\n\n Plos One, 17(12): e0279605. 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"Emotional$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{grimaud2021b,\n\tauthor = {Grimaud, Annaliese Micallef and Eerola, T.},\n\tdate-added = {2023-06-10 18:55:03 +0100},\n\tdate-modified = {2023-06-10 18:55:22 +0100},\n\tdoi = {https:// doi.org/10.1371/journal.pone.0279605},\n\tjournal = {Plos One},\n\tkeywords = {Emotion},\n\tnumber = {12},\n\tpages = {e0279605},\n\ttitle = {Emotional expression through musical cues: A comparison of production and perception approaches},\n\turl = {https:// doi.org/10.1371/journal.pone.0279605},\n\tvolume = {17},\n\tyear = {2022},\n\tbdsk-url-1 = {https://%20doi.org/10.1371/journal.pone.0279605}}\n\n

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\n \n\n \n \n Herdson, O., Eerola, T., & Javadi, A.\n\n\n \n \n \n \n Analysis and Classification of Music-induced States of Sadness.\n \n \n \n\n\n \n\n\n\n Emotion Review, 15(2): 99-117. 2022.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 5 downloads\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{javadi2021,\n\tauthor = {Herdson, O. and Eerola, T. and Javadi, A.-H.},\n\tdate-added = {2022-12-19 14:30:56 +0000},\n\tdate-modified = {2024-02-29 10:21:52 +0000},\n\tdoi = {https://doi.org/10.1177/17540739221140472},\n\tjournal = {Emotion Review},\n\tkeywords = {Music & emotion, sadness},\n\tnumber = {2},\n\tpages = {99-117},\n\ttitle = {Analysis and Classification of Music-induced States of Sadness},\n\tvolume = {15},\n\tyear = {2022},\n\tbdsk-url-1 = {https://doi.org/10.1177/17540739221140472}}\n\n

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\n \n\n \n \n Fuentes-Sánchez, N., Pastor, R., Eerola, T., Ángel Escrig, M., & Pastor, M. C.\n\n\n \n \n \n \n Musical Preference but not Familiarity Influences Subjective Ratings and Psychophysiological Correlates of Music-Induced Emotions.\n \n \n \n\n\n \n\n\n\n Personality and Individual Differences, 198(111828). 2022.\n \n\n\n\n
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@article{nieves,\n\tauthor = {Fuentes-S{\\'a}nchez, N. and Pastor, R. and Eerola, T. and {\\'A}ngel Escrig, M. and Pastor, M. C.},\n\tdate-added = {2022-09-08 14:32:09 +0100},\n\tdate-modified = {2022-12-19 14:36:23 +0000},\n\tdoi = {https://doi.org/10.1016/j.paid.2022.111828},\n\tjournal = {Personality and Individual Differences},\n\tkeywords = {Music & emotion},\n\tnumber = {111828},\n\ttitle = {Musical Preference but not Familiarity Influences Subjective Ratings and Psychophysiological Correlates of Music-Induced Emotions},\n\tvolume = {198},\n\tyear = {2022},\n\tbdsk-url-1 = {https://doi.org/10.1016/j.paid.2022.111828}}\n\n

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\n \n\n \n \n Armitage, J., & Eerola, T.\n\n\n \n \n \n \n \n Cross-modal Transfer of Valence or Arousal from Music to Word Targets in Affective Priming?.\n \n \n \n \n\n\n \n\n\n\n Auditory Perception & Cognition, 5(3-4): 192-210. 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"Cross-modal$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{armitage2021,\n\tauthor = {Armitage, J. and Eerola, T.},\n\tdate-added = {2022-09-08 14:31:48 +0100},\n\tdate-modified = {2023-11-21 20:10:56 +0000},\n\tdoi = {https://doi.org/10.1080/25742442.2022.2087451},\n\tjournal = {Auditory Perception \\& Cognition},\n\tkeywords = {Music & emotion, preregistered},\n\tnumber = {3-4},\n\tpages = {192-210},\n\ttitle = {Cross-modal Transfer of Valence or Arousal from Music to Word Targets in Affective Priming?},\n\turl = {https://doi.org/10.1080/25742442.2022.2087451},\n\tvolume = {5},\n\tyear = {2022},\n\tbdsk-url-1 = {https://doi.org/10.1080/25742442.2022.2087451}}\n\n

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\n \n\n \n \n Reybrouck, M., & Eerola, T.\n\n\n \n \n \n \n \n Musical enjoyment and reward: from hedonic pleasure to eudaimonic listening.\n \n \n \n \n\n\n \n\n\n\n Behavioural Sciences, 12(5): 154. 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"Musical$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 3 downloads\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{reybrouck2022,\n\tauthor = {Reybrouck, M. and Eerola, T.},\n\tdate-added = {2022-05-19 08:33:38 +0100},\n\tdate-modified = {2022-05-19 08:33:38 +0100},\n\tdoi = {https://doi.org/10.3390/bs12050154},\n\tjournal = {Behavioural Sciences},\n\tkeywords = {Music & Emotion},\n\tnumber = {5},\n\tpages = {154},\n\ttitle = {Musical enjoyment and reward: from hedonic pleasure to eudaimonic listening},\n\turl = {https://www.mdpi.com/2076-328X/12/5/154},\n\tvolume = {12},\n\tyear = {2022},\n\tbdsk-file-1 = {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},\n\tbdsk-file-2 = {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}}\n\n

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\n \n\n \n \n Street, S. E., Eerola, T., & Kendal, J.\n\n\n \n \n \n \n \n The role of population size in folk tune complexity.\n \n \n \n \n\n\n \n\n\n\n Humanities and Social Sciences Communications, 9(152). 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 3 downloads\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{street2022,\n\tauthor = {Street, S. E. and Eerola, T. and Kendal, J.},\n\tdate-added = {2022-04-29 08:12:29 +0100},\n\tdate-modified = {2022-04-29 08:13:36 +0100},\n\tdoi = {https://doi.org/10.1057/s41599-022-01139-y},\n\tjournal = {Humanities and Social Sciences Communications},\n\tkeywords = {Computational modelling, Complexity},\n\tnumber = {152},\n\ttitle = {The role of population size in folk tune complexity},\n\turl = {https://doi.org/10.1057/s41599-022-01139-y},\n\tvolume = {9},\n\tyear = {2022},\n\tbdsk-url-1 = {https://doi.org/10.1057/s41599-022-01139-y}}\n\n

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\n \n\n \n \n Lennie, T. M., & Eerola, T.\n\n\n \n \n \n \n \n The CODA model: a review and skeptical extension of the constructionist model of emotional episodes induced by music.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology: Auditory Cognitive Neuroscience. 2022.\n \n\n\n\n
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@article{lennie2022,\n\tauthor = {Lennie, T. M. and Eerola, T.},\n\tdate-added = {2022-04-29 08:12:29 +0100},\n\tdate-modified = {2022-04-29 08:12:29 +0100},\n\tdoi = {https://doi.org/10.3389/fpsyg.2022.822264},\n\tjournal = {Frontiers in Psychology: Auditory Cognitive Neuroscience},\n\tkeywords = {Music & emotion},\n\ttitle = {The CODA model: a review and skeptical extension of the constructionist model of emotional episodes induced by music},\n\turl = {https://doi.org/10.3389/fpsyg.2022.822264},\n\tyear = {2022},\n\tbdsk-url-1 = {https://www.frontiersin.org/articles/10.3389/fpsyg.2022.822264}}\n\n

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\n \n\n \n \n Lahdelma, I., Eerola, T., & Armitage, J.\n\n\n \n \n \n \n \n Is Harmonicity a Misnomer for Cultural Familiarity in Consonance Preferences?.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology. 2022.\n \n\n\n\n
\n\n\n\n \n \n $\"Is$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lahdelma2021C,\n\tauthor = {Lahdelma, I. and Eerola, T. and Armitage, J.},\n\tdate-added = {2022-04-29 08:12:29 +0100},\n\tdate-modified = {2022-04-29 08:12:29 +0100},\n\tdoi = {https://doi.org/10.3389/fpsyg.2022.802385},\n\tjournal = {Frontiers in Psychology},\n\tkeywords = {Consonance/dissonance},\n\ttitle = {Is Harmonicity a Misnomer for Cultural Familiarity in Consonance Preferences?},\n\turl = {https://doi.org/10.3389/fpsyg.2022.802385},\n\tyear = {2022},\n\tbdsk-url-1 = {https://www.frontiersin.org/articles/10.3389/fpsyg.2022.802385/}}\n\n

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\n \n\n \n \n Grimaud, A. M., & Eerola, T.\n\n\n \n \n \n \n An Interactive Approach to Emotional Expression through Musical Cues.\n \n \n \n\n\n \n\n\n\n Music & Science, 5: 1-23. 2022.\n \n\n\n\n
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@article{grimaud_eerola_2022,\n\tauthor = {Grimaud, Annaliese Micallef and Eerola, T.},\n\tdate-added = {2022-02-14 12:49:46 +0000},\n\tdate-modified = {2022-04-29 08:13:09 +0100},\n\tdoi = {https://doi.org/10.1177/20592043211061745},\n\tjournal = {Music \\& Science},\n\tkeywords = {Music & emotion},\n\tpages = {1-23},\n\ttitle = {An Interactive Approach to Emotional Expression through Musical Cues},\n\tvolume = {5},\n\tyear = {2022},\n\tbdsk-url-1 = {https://doi.org/10.1177/20592043211061745}}\n\n

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\n \n 2021\n \n \n (16)\n \n \n

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\n \n\n \n \n Eerola, T., & Lahdelma, I.\n\n\n \n \n \n \n \n Register Impacts Perceptual Consonance through Roughness and Sharpness.\n \n \n \n \n\n\n \n\n\n\n Psychonomic Bulletin and Review, 29: 800-808. 2021.\n \n\n\n\n
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@article{eerola_lahdelma2021c,\n\tauthor = {Eerola, T. and Lahdelma, I.},\n\tdate-modified = {2023-11-21 20:11:20 +0000},\n\tdoi = {10.3758/s13423-021-02033-5},\n\tjournal = {Psychonomic Bulletin and Review},\n\tkeywords = {Consonance/dissonance, preregistered},\n\tpages = {800-808},\n\ttitle = {Register Impacts Perceptual Consonance through Roughness and Sharpness},\n\turl = {https://doi.org/10.3758/s13423-021-02033-5},\n\tvolume = {29},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.3758/s13423-021-02033-5}}\n\n

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\n \n\n \n \n Fuentes-Sánchez, N., Pastor, M. C., , Eerola, T., & Pastor, R.\n\n\n \n \n \n \n \n Individual differences in music reward sensitivity influence the perception of emotions represented by music.\n \n \n \n \n\n\n \n\n\n\n Musicae Scientiae. 2021.\n \n\n\n\n
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@article{fuentes2021,\n\tauthor = {Fuentes-S{\\'a}nchez, N. and Pastor, M. C. and and Eerola, T. and Pastor, R.},\n\tdoi = {https://doi.org/10.1177/10298649211060028},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Music & emotion},\n\ttitle = {Individual differences in music reward sensitivity influence the perception of emotions represented by music},\n\turl = {https://doi.org/10.1177/10298649211060028},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1177/10298649211060028}}\n\n

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\n \n\n \n \n Eerola, T., Armitage, J., Lavan, N., & Knight, S.\n\n\n \n \n \n \n \n Online Data Collection in Auditory Perception and Cognition Research: Recruitment, Testing, Data Quality and Ethical Considerations.\n \n \n \n \n\n\n \n\n\n\n Auditory Perception & Cognition. 2021.\n \n\n\n\n
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@article{eerola_et_al_2021c,\n\tauthor = {Eerola, T. and Armitage, J. and Lavan, N. and Knight, S.},\n\tdoi = {https://doi.org/10.1080/25742442.2021.2007718},\n\tjournal = {Auditory Perception \\& Cognition},\n\tkeywords = {Theoretical/Review},\n\ttitle = {Online Data Collection in Auditory Perception and Cognition Research: Recruitment, Testing, Data Quality and Ethical Considerations},\n\turl = {https://doi.org/10.1080/25742442.2021.2007718},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1080/25742442.2021.2007718}}\n\n

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\n \n\n \n \n Clayton, M., Tarsitani, S., Jankowsky, R., Jure, L., Leante, L., Polak, R., Poole, A., Rocamora, M., Alborno, P., Camurri, A., Eerola, T., Jacoby, N., & Jakubowski, K.\n\n\n \n \n \n \n \n The Interpersonal Entrainment in Music Performance Data Collection.\n \n \n \n \n\n\n \n\n\n\n Empirical Musicology Review, 16(1): 65-84. 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{Clayton2020emr,\n\tauthor = {Clayton, M. and Tarsitani, S. and Jankowsky, R. and Jure, L. and Leante, L. and Polak, R. and Poole, A. and Rocamora, M. and Alborno, P. and Camurri, A. and Eerola, T. and Jacoby, N., and Jakubowski, K.},\n\tdoi = {http://dx.doi.org/10.18061/emr.v16i1.7555},\n\tjournal = {Empirical Musicology Review},\n\tkeywords = {Entrainment},\n\tnumber = {1},\n\tpages = {65-84},\n\ttitle = {The Interpersonal Entrainment in Music Performance Data Collection},\n\turl = {http://dx.doi.org/10.18061/emr.v16i1.7555},\n\tvolume = {16},\n\tyear = {2021},\n\tbdsk-url-1 = {http://dx.doi.org/10.18061/emr.v16i1.7555}}\n\n

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\n \n\n \n \n Eerola, T., Vuoskoski, J. K., Kautiainen, H., Peltola, H., Putkinen, V., & Schäfer, K.\n\n\n \n \n \n \n \n Being moved by listening to unfamiliar sad music induces reward-related hormonal changes in empathic listeners.\n \n \n \n \n\n\n \n\n\n\n Annals of the New York Academy of Sciences, 1502: 121-131. 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Being$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola_etal_2021,\n\tauthor = {Eerola, T. and Vuoskoski, J. K. and Kautiainen, H. and Peltola, H.-R. and Putkinen, V. and Sch{\\"a}fer, K.},\n\tdate-added = {2021-10-30 11:11:50 +0100},\n\tdate-modified = {2021-10-30 11:12:26 +0100},\n\tdoi = {DOI:10.1111/nyas.14660},\n\tjournal = {Annals of the New York Academy of Sciences},\n\tkeywords = {Music & emotion, Sadness},\n\tpages = {121-131},\n\ttitle = {Being moved by listening to unfamiliar sad music induces reward-related hormonal changes in empathic listeners},\n\turl = {https://doi.org/10.1111/nyas.14660},\n\tvolume = {1502},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1111/nyas.14660}}\n\n

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\n \n\n \n \n Gómez-Cañón, J. S., Cano, E., Eerola, T., Herrera, P., Hu, X., Yang, Y., & Gómez, E.\n\n\n \n \n \n \n Music Emotion Recognition: Toward new, robust standards in personalized and context-sensitive applications.\n \n \n \n\n\n \n\n\n\n IEEE Signal Processing Magazine, 38(6): 106-114. 2021.\n \n\n\n\n
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@article{gomez2021,\n\tauthor = {G{\\'o}mez-Ca{\\~n}{\\'o}n, Juan Sebasti{\\'a}n and Cano, Estefan{\\'\\i}a and Eerola, T. and Herrera, Perfecto and Hu, Xiao and Yang, Yi-Hsuan and G{\\'o}mez, Emilia},\n\tdate-added = {2021-10-30 11:09:25 +0100},\n\tdate-modified = {2021-10-30 11:09:38 +0100},\n\tdoi = {10.1109/MSP.2021.3106232},\n\tjournal = {IEEE Signal Processing Magazine},\n\tkeywords = {Computational modelling},\n\tnumber = {6},\n\tpages = {106-114},\n\ttitle = {Music Emotion Recognition: Toward new, robust standards in personalized and context-sensitive applications},\n\tvolume = {38},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1109/MSP.2021.3106232}}\n\n

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\n \n\n \n \n Jakubowski, K., & Eerola, T.\n\n\n \n \n \n \n \n Music evokes fewer but more positive autobiographical memories than emotionally matched sound and word cues.\n \n \n \n \n\n\n \n\n\n\n Journal of Applied Research in Memory and Cognition. 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Music$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{jakubowski2021,\n\tauthor = {Jakubowski, K. and Eerola, T.},\n\tdate-modified = {2021-12-16 09:22:17 +0000},\n\tdoi = {https://doi.org/10.1016/j.jarmac.2021.09.002},\n\tjournal = {Journal of Applied Research in Memory and Cognition},\n\tkeywords = {Autobiographical memories & music},\n\ttitle = {Music evokes fewer but more positive autobiographical memories than emotionally matched sound and word cues},\n\turl = {https://doi.org/10.1016/j.jarmac.2021.09.002},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1016/j.jarmac.2021.09.002}}\n\n

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\n \n\n \n \n Lahdelma, I., Athanasopoulos, G., & Eerola, T.\n\n\n \n \n \n \n \n Sweetness is in the ear of the beholder: chord preference across United Kingdom and Pakistani listeners.\n \n \n \n \n\n\n \n\n\n\n Annals of the New York Academy of Sciences. 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Sweetness$ Paper\n \n \n \n $\"Sweetness$ link\n \n \n \n $\"Sweetness$ paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{lahdelma_etal2021,\n\tauthor = {Lahdelma, I. and Athanasopoulos, G. and Eerola, T.},\n\tdoi = {https://doi.org/10.1111/nyas.14655},\n\tjournal = {Annals of the New York Academy of Sciences},\n\tkeywords = {Cross-cultural, Consonance/dissonance},\n\ttitle = {Sweetness is in the ear of the beholder: chord preference across United Kingdom and Pakistani listeners},\n\turl = {https://doi.org/10.1111/nyas.14655},\n\turl_link = {https://twitter.com/tuomas_ee/status/1414583775770595330},\n\turl_paper = {pdfs/lahdelma_et_al_2021.pdf},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1111/nyas.14655}}\n\n

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\n \n\n \n \n Eerola, T., & Lahdelma, I.\n\n\n \n \n \n \n \n The Anatomy of Consonance/Dissonance: Evaluating Acoustic and Cultural Predictors Across Multiple Datasets with Chords.\n \n \n \n \n\n\n \n\n\n\n Music & Science, 4. 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2021,\n\tauthor = {Eerola, T. and Lahdelma, I.},\n\tdate-modified = {2021-12-16 09:20:46 +0000},\n\tdoi = {https://doi.org/10.1177/20592043211030471},\n\tjournal = {Music \\& Science},\n\tkeywords = {Consonance/dissonance},\n\ttitle = {The Anatomy of Consonance/Dissonance: Evaluating Acoustic and Cultural Predictors Across Multiple Datasets with Chords},\n\turl_link = {https://twitter.com/tuomas_ee/status/1414966499010301956},\n\tvolume = {4},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1177/20592043211030471}}\n\n

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\n \n\n \n \n Bannister, S, & Eerola, T\n\n\n \n \n \n \n \n Vigilance and Social Chills with Music: Evidence for Distinct Types of Musical Chills.\n \n \n \n \n\n\n \n\n\n\n Psychology of Aesthetics, Creativity, and the Arts. 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Vigilance$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{bannister2021,\n\tauthor = {Bannister, S and Eerola, T},\n\tdoi = {http://dx.doi.org/10.1037/aca0000421},\n\tjournal = {Psychology of Aesthetics, Creativity, and the Arts},\n\tkeywords = {Chills, Music & emotion},\n\ttitle = {Vigilance and Social Chills with Music: Evidence for Distinct Types of Musical Chills},\n\turl_link = {https://twitter.com/tuomas_ee/status/1444977000746266627?s=21},\n\tyear = {2021},\n\tbdsk-url-1 = {http://dx.doi.org/10.1037/aca0000421}}\n\n

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\n \n\n \n \n Armitage, J., Lahdelma, I., & Eerola, T.\n\n\n \n \n \n \n \n Automatic responses to musical intervals: Contrasts in acoustic roughness predict affective priming in Western listeners.\n \n \n \n \n\n\n \n\n\n\n Journal of Acoustical Society of America, 150(551). 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Automatic$ Paper\n \n \n \n $\"Automatic$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{armitage2020,\n\tauthor = {Armitage, J. and Lahdelma, I. and Eerola, T.},\n\tdoi = {10.1121/10.0005623},\n\tjournal = {Journal of Acoustical Society of America},\n\tkeywords = {Consonance/dissonance},\n\tnumber = {551},\n\ttitle = {Automatic responses to musical intervals: Contrasts in acoustic roughness predict affective priming in Western listeners},\n\turl = {https://doi.org/10.1121/10.0005623},\n\turl_link = {https://twitter.com/ASA_JASA/status/1421168925136539655},\n\tvolume = {150},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1121/10.0005623}}\n\n

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\n \n\n \n \n Athanasopoulos, G., Eerola, T., Lahdelma, I., & Kaliakatsos-Papakostas, M.\n\n\n \n \n \n \n \n Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music.\n \n \n \n \n\n\n \n\n\n\n Plos One, 16(1): e0244964. 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"Harmonic$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{athanasapoulos2021,\n\tauthor = {Athanasopoulos, G. and Eerola, T. and Lahdelma, I. and Kaliakatsos-Papakostas, M.},\n\tdate-modified = {2021-10-16 20:11:47 +0100},\n\tdoi = {https://doi.org/ 10.1371/journal.pone.0244964},\n\tjournal = {Plos One},\n\tkeywords = {Cross-cultural, Consonance/dissonance, Emotional expression},\n\tnumber = {1},\n\tpages = {e0244964},\n\ttitle = {Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music},\n\turl_link = {https://twitter.com/tuomas_ee/status/1349432015515480065},\n\tvolume = {16},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/%2010.1371/journal.pone.0244964}}\n\n

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\n \n\n \n \n Micallef Grimaud, A., & Eerola, T.\n\n\n \n \n \n \n \n EmoteControl: An interactive system for real-time control of emotional expression in music.\n \n \n \n \n\n\n \n\n\n\n Personal and Ubiquitous Computing, 25(4): 677-689. 2021.\n \n\n\n\n
\n\n\n\n \n \n $\"EmoteControl:$ Paper\n \n \n \n $\"EmoteControl:$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 3 downloads\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{grimault_eerola_2020,\n\tauthor = {Micallef Grimaud, A. and Eerola, T.},\n\tdoi = {10.1007/s00779-020-01390-7},\n\tjournal = {Personal and Ubiquitous Computing},\n\tkeywords = {Music & emotion, Emotional expression},\n\tnumber = {4},\n\tpages = {677-689},\n\ttitle = {EmoteControl: An interactive system for real-time control of emotional expression in music},\n\turl = {http://link.springer.com/article/10.1007/s00779-020-01390-7},\n\turl_link = {https://twitter.com/LieseGrimaud/status/1246076932887724037},\n\tvolume = {25},\n\tyear = {2021},\n\tbdsk-url-1 = {http://link.springer.com/article/10.1007/s00779-020-01390-7},\n\tbdsk-url-2 = {https://doi.org/10.1007/s00779-020-01390-7}}\n\n

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\n \n\n \n \n Jakubowski, K., Belfi, A., & Eerola, T.\n\n\n \n \n \n \n Phenomenological and age-related differences in music- and television-evoked autobiographical memories.\n \n \n \n\n\n \n\n\n\n Music Perception, 38(5): 435-455. 2021.\n \n\n\n\n
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@article{jakubowski_et_al2019,\n\tauthor = {Jakubowski, K. and Belfi, A. and Eerola, T.},\n\tdate-modified = {2021-10-17 09:16:05 +0100},\n\tdoi = {10.1525/mp.2021.38.5.435},\n\tjournal = {Music Perception},\n\tkeywords = {Music & emotion, Autobiographical memories & music},\n\tnumber = {5},\n\tpages = {435-455},\n\ttitle = {Phenomenological and age-related differences in music- and television-evoked autobiographical memories},\n\tvolume = {38},\n\tyear = {2021},\n\tbdsk-url-1 = {https://doi.org/10.1525/mp.2021.38.5.435}}\n\n

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\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n Personality and Musicians.\n \n \n \n\n\n \n\n\n\n The Science and Psychology of Music: From Mozart at the Office to Metallica at the Gym, pages 145-150. Olsen, K., & Thompson, W. F., editor(s). ABC-CLIO, 2021.\n \n\n\n\n
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@inbook{vuoskoski_eerola2018_pers1,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tbooktitle = {The Science and Psychology of Music: From Mozart at the Office to Metallica at the Gym},\n\tchapter = {Personality and Musicians},\n\tdate-modified = {2021-10-30 11:24:24 +0100},\n\teditor = {Olsen, K. and Thompson, W. F.},\n\tkeywords = {Textbook, Individual differences},\n\tpages = {145-150},\n\tpublisher = {ABC-CLIO},\n\ttitle = {The Science and Psychology of Music: From Mozart at the Office to Metallica at the Gym},\n\tyear = {2021}}\n\n

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\n \n\n \n \n Eerola, T., & Vuoskoski, J. K.\n\n\n \n \n \n \n Personality and Listeners.\n \n \n \n\n\n \n\n\n\n The Science and Psychology of Music: From Mozart at the Office to Metallica at the Gym, pages 141-145. Olsen, K., & Thompson, W. F., editor(s). ABC-CLIO, 2021.\n \n\n\n\n
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@inbook{eerola_and_vuoskoski2021,\n\tauthor = {Eerola, T. and Vuoskoski, J. K.},\n\tbooktitle = {The Science and Psychology of Music: From Mozart at the Office to Metallica at the Gym},\n\tchapter = {Personality and Listeners},\n\tdate-modified = {2021-10-30 11:11:31 +0100},\n\teditor = {Olsen, K. and Thompson, William Forde},\n\tkeywords = {Textbook, Individual differences},\n\tpages = {141-145},\n\tpublisher = {ABC-CLIO},\n\ttitle = {The Science and Psychology of Music: From Mozart at the Office to Metallica at the Gym},\n\tyear = {2021}}\n\n

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\n \n 2020\n \n \n (9)\n \n \n

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\n \n\n \n \n Lahdelma, I., & Eerola, T.\n\n\n \n \n \n \n \n A Response to Michael Spitzer's Commentary.\n \n \n \n \n\n\n \n\n\n\n Empirical Musicology Review. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"A$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lahdelmaeerola2020,\n\tauthor = {Lahdelma, I. and Eerola, T.},\n\tdate-modified = {2021-10-16 17:25:22 +0100},\n\tjournal = {Empirical Musicology Review},\n\tkeywords = {Theoretical/Review},\n\ttitle = {A Response to Michael Spitzer's Commentary},\n\turl = {http://dx.doi.org/10.18061/emr.v15i1-2.7324},\n\tyear = {2020},\n\tbdsk-url-1 = {http://dx.doi.org/10.18061/emr.v15i1-2.7324}}\n\n

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\n \n\n \n \n Schäfer, K., Saarikallio, S., & Eerola, T.\n\n\n \n \n \n \n \n Music may reduce loneliness and act as social surrogate for a friend: Evidence from an experimental listening study.\n \n \n \n \n\n\n \n\n\n\n Music & Science, 3: 1-16. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Music$ Paper\n \n \n \n $\"Music$ link\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{schafer2020b,\n\tauthor = {Sch{\\"a}fer, K. and Saarikallio, S., and Eerola, T.},\n\tdate-modified = {2021-10-30 11:13:47 +0100},\n\tjournal = {Music \\& Science},\n\tkeywords = {Music & emotion, Social},\n\tpages = {1-16},\n\ttitle = {Music may reduce loneliness and act as social surrogate for a friend: Evidence from an experimental listening study},\n\turl = {https://doi.org/10.1177/2059204320935709},\n\turl_link = {https://twitter.com/tuomas_ee/status/1041587468821258241?},\n\tvolume = {3},\n\tyear = {2020},\n\tbdsk-url-1 = {https://doi.org/10.1177/2059204320935709}}\n\n

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\n \n\n \n \n Lahdelma, I., & Eerola, T.\n\n\n \n \n \n \n \n Cultural familiarity and musical expertise impact the pleasantness of consonance/dissonance but not its perceived tension.\n \n \n \n \n\n\n \n\n\n\n Scientific Reports, (10): 8693. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Cultural$ Paper\n \n \n \n $\"Cultural$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lahdelma2020,\n\tauthor = {Lahdelma, I., and Eerola, T.},\n\tdoi = {https://doi.org/10.1038/s41598-020-65615-8},\n\tjournal = {Scientific Reports},\n\tkeywords = {Consonance/dissonance},\n\tnumber = {10},\n\tpages = {8693},\n\ttitle = {Cultural familiarity and musical expertise impact the pleasantness of consonance/dissonance but not its perceived tension},\n\turl = {https://doi.org/10.1038/s41598-020-65615-8},\n\turl_link = {https://twitter.com/tuomas_ee/status/1265206758726873090},\n\tyear = {2020},\n\tbdsk-url-1 = {https://doi.org/10.1038/s41598-020-65615-8}}\n\n

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\n \n\n \n \n Fuentes-Sánchez, N., Pastor, R., Eerola, T., & Pastor, M. C.\n\n\n \n \n \n \n \n Spanish adaptation of a film music stimulus set (FMSS): Cultural and gender differences in the perception of emotions prompted by music excerpts.\n \n \n \n \n\n\n \n\n\n\n Psychology of Music, 49(5): 1242-1260. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Spanish$ Paper\n \n \n \n $\"Spanish$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{fuentes2020,\n\tauthor = {Fuentes-S{\\'a}nchez, N. and Pastor, R. and Eerola, T. and Pastor, M. C.},\n\tdate-modified = {2021-10-30 11:16:13 +0100},\n\tdoi = {10.1177/0305735620958464},\n\tjournal = {Psychology of Music},\n\tkeywords = {Music & emotion},\n\tnumber = {5},\n\tpages = {1242-1260},\n\ttitle = {Spanish adaptation of a film music stimulus set (FMSS): Cultural and gender differences in the perception of emotions prompted by music excerpts},\n\turl = {https://doi.org/10.1177/0305735620958464},\n\turl_link = {https://twitter.com/tuomas_ee/status/1314528942720778242},\n\tvolume = {49},\n\tyear = {2020},\n\tbdsk-url-1 = {https://doi.org/10.1177/0305735620958464}}\n\n

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\n \n\n \n \n Jakubowski, K., Eerola, T., Tillmann, B., Perrin, F., & Heine, L.\n\n\n \n \n \n \n \n A cross-sectional study of reminiscence bumps for music-related memories in adulthood.\n \n \n \n \n\n\n \n\n\n\n Music & Science, 3: 1-13. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"A$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{jakubowski_etal_2020,\n\tauthor = {Jakubowski, K., and Eerola, T., and Tillmann, B. and Perrin, F. and Heine, L.},\n\tdate-modified = {2021-10-30 11:17:18 +0100},\n\tjournal = {Music \\& Science},\n\tkeywords = {Music & emotion, Autobiographical memories & music},\n\tpages = {1-13},\n\ttitle = {A cross-sectional study of reminiscence bumps for music-related memories in adulthood},\n\turl = {https://doi.org/10.1177/2059204320965058},\n\tvolume = {3},\n\tyear = {2020},\n\tbdsk-url-1 = {https://doi.org/10.1177/2059204320965058}}\n\n

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\n \n\n \n \n Lahdelma, I., Armitage, J., & Eerola, T.\n\n\n \n \n \n \n \n Affective Priming With Musical Chords is Influenced by Pitch Numerosity.\n \n \n \n \n\n\n \n\n\n\n Musicae Scientiae, 26(1): 208–217. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Affective$ Paper\n \n \n \n $\"Affective$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lahdelma2020b,\n\tauthor = {Lahdelma, I., and Armitage, J. and Eerola, T.},\n\tdate-modified = {2022-05-27 17:27:59 +0100},\n\tdoi = {https://doi.org/10.1177/1029864920911127},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Consonance/dissonance},\n\tnumber = {1},\n\tpages = {208--217},\n\ttitle = {Affective Priming With Musical Chords is Influenced by Pitch Numerosity},\n\turl = {https://doi.org/10.1177/1029864920911127},\n\turl_link = {https://twitter.com/tuomas_ee/status/1240684120058916864},\n\tvolume = {26},\n\tyear = {2020},\n\tbdsk-url-1 = {https://doi.org/10.1177/1029864920911127}}\n\n

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\n \n\n \n \n Jakubowski, K., Eerola, T. B. X., Ma, K. W., Clayton, M., & Keller, P.\n\n\n \n \n \n \n \n Multimodal perception of interpersonal synchrony: Evidence from global and continuous ratings of improvised musical duo performances.\n \n \n \n \n\n\n \n\n\n\n Psychomusicology: Music, Mind, and Brain, 30(4): 159-177. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Multimodal$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{jakubowski_et_al_2020,\n\tauthor = {Jakubowski, K. and Eerola, T. Blackwood Ximenes, A. and Ma, K. W. and Clayton, M. and Keller, P.},\n\tdoi = {10.1037/pmu0000264},\n\tjournal = {Psychomusicology: Music, Mind, and Brain},\n\tkeywords = {Entrainment},\n\tnumber = {4},\n\tpages = {159-177},\n\ttitle = {Multimodal perception of interpersonal synchrony: Evidence from global and continuous ratings of improvised musical duo performances},\n\turl = {https://doi.org/10.1037/pmu0000264},\n\tvolume = {30},\n\tyear = {2020},\n\tbdsk-url-1 = {https://doi.org/10.1037/pmu0000264}}\n\n

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\n \n\n \n \n Armitage, J., & Eerola, T.\n\n\n \n \n \n \n \n Reaction Time Data in Music Cognition: A Comparison of Pilot Data Sets from Lab, Crowdsourced and Convenience Web Samples.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Reaction$ Paper\n \n \n \n $\"Reaction$ link\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{armitage2019,\n\tauthor = {Armitage, J. and Eerola, T.},\n\tjournal = {Frontiers in Psychology},\n\tkeywords = {Consonance/dissonance},\n\ttitle = {Reaction Time Data in Music Cognition: A Comparison of Pilot Data Sets from Lab, Crowdsourced and Convenience Web Samples},\n\turl = {https://doi.org/10.3389/fpsyg.2019.02883},\n\turl_link = {https://twitter.com/tuomas_ee/status/1214830982752288770},\n\tyear = {2020},\n\tbdsk-url-1 = {https://doi.org/10.3389/fpsyg.2019.02883}}\n\n

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\n \n\n \n \n Clayton, M., Jakubowski, K., Eerola, T., Keller, P., Camurri, A., Volpe, G., & Alborno, P.\n\n\n \n \n \n \n \n Interpersonal entrainment in music performance: Theory, method and model.\n \n \n \n \n\n\n \n\n\n\n Music Perception, 38(2): 136-194. 2020.\n \n\n\n\n
\n\n\n\n \n \n $\"Interpersonal$ Paper\n \n \n \n $\"Interpersonal$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{clayton2020a,\n\tauthor = {Clayton, M. and Jakubowski, K. and Eerola, T. and Keller, P. and Camurri, A. and Volpe, G. and Alborno, P.},\n\tdoi = {10.1525/mp.2020.38.2.136},\n\tjournal = {Music Perception},\n\tkeywords = {Entrainment},\n\tnumber = {2},\n\tpages = {136-194},\n\ttitle = {Interpersonal entrainment in music performance: Theory, method and model},\n\turl = {https://doi.org/10.1525/mp.2020.38.2.136},\n\turl_link = {https://twitter.com/tuomas_ee/status/1346043891259232256},\n\tvolume = {38},\n\tyear = {2020},\n\tbdsk-url-1 = {https://doi.org/10.1525/mp.2020.38.2.136}}\n\n

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\n \n 2019\n \n \n (7)\n \n \n

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\n \n\n \n \n Grimaud-Micallef, A., Eerola, T., & Collins, N.\n\n\n \n \n \n \n \n EmoteControl: A System for Live-Manipulation of Emotional Cues in Music.\n \n \n \n \n\n\n \n\n\n\n In Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound on ZZZ, of AM'19, pages 111–115, New York, NY, USA, 2019. ACM\n \n\n\n\n
\n\n\n\n \n \n $\"EmoteControl:$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{grimaud_2019,\n\tacmid = {3356608},\n\taddress = {New York, NY, USA},\n\tauthor = {Grimaud-Micallef, A. and Eerola, T. and Collins, N.},\n\tbooktitle = {Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound on ZZZ},\n\tdoi = {10.1145/3356590.3356608},\n\tisbn = {978-1-4503-7297-8},\n\tkeywords = {Music & emotion, Emotional expression},\n\tlocation = {Nottingham, United Kingdom},\n\tnumpages = {5},\n\tpages = {111--115},\n\tpublisher = {ACM},\n\tseries = {AM'19},\n\ttitle = {EmoteControl: A System for Live-Manipulation of Emotional Cues in Music},\n\turl = {http://doi.acm.org/10.1145/3356590.3356608},\n\tyear = {2019},\n\tbdsk-url-1 = {http://doi.acm.org/10.1145/3356590.3356608},\n\tbdsk-url-2 = {https://doi.org/10.1145/3356590.3356608}}\n\n

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\n \n\n \n \n Brown, P., RELISH Consortium, undefined, & Zhou, Y.\n\n\n \n \n \n \n \n Large expert-curated database for benchmarking document similarity detection in biomedical literature search.\n \n \n \n \n\n\n \n\n\n\n Database,1-67. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Large$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{brown_etal2019,\n\tauthor = {Brown, P. and RELISH Consortium, and Zhou, Y.},\n\tdate-modified = {2021-10-16 17:19:54 +0100},\n\tjournal = {Database},\n\tkeywords = {Similarity},\n\tpages = {1-67},\n\ttitle = {Large expert-curated database for benchmarking document similarity detection in biomedical literature search},\n\turl = {https://dx.doi.org/10.1093%2Fdatabase%2Fbaz085},\n\tyear = {2019},\n\tbdsk-url-1 = {https://dx.doi.org/10.1093%2Fdatabase%2Fbaz085}}\n\n

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\n \n\n \n \n Küssner, M., Eerola, T., & Fujioka, T.\n\n\n \n \n \n \n \n Music, Emotion, and Visual Imagery: Where Are We now?.\n \n \n \n \n\n\n \n\n\n\n Psychomusicology: Music, Mind, and Brain, 29(2-3): 59-61. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Music,$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{kussner_eerola2018b,\n\tauthor = {K{\\"u}ssner, M. and Eerola, T. and Fujioka, T.},\n\tdate-modified = {2021-10-16 20:08:33 +0100},\n\tdoi = {10.1037/pmu0000245},\n\tjournal = {Psychomusicology: Music, Mind, and Brain},\n\tkeywords = {Mental imagery & music},\n\tnumber = {2-3},\n\tpages = {59-61},\n\ttitle = {Music, Emotion, and Visual Imagery: Where Are We now?},\n\turl = {http://dx.doi.org/10.1037/pmu0000245},\n\tvolume = {29},\n\tyear = {2019},\n\tbdsk-url-1 = {http://dx.doi.org/10.1037/pmu0000245}}\n\n

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\n \n\n \n \n Becker, S, Joffily, M, Olino, T, Martin, L, Bräscher, A., Bannister, S, Ellingsen, D., Ferdenzi, C, Calma-Birling, D, Chan, R, Lowe, L J, Hanson, J L, Eerola, T, Lidhar, N, Noll-Hussong, M, Musser, E, Pintos Lobo, R, Wang, Y, & Bensafi, M\n\n\n \n \n \n \n \n The Role of Hedonics in the Human Affectome.\n \n \n \n \n\n\n \n\n\n\n Neuroscience & Biobehavioral Reviews, 102: 221-241. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n \n $\"The$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{becker2019,\n\tauthor = {Becker, S and Joffily, M and Olino, T and Martin, L and Br{\\"a}scher, A-K and Bannister, S and Ellingsen, D-M and Ferdenzi, C and Calma-Birling, D and Chan, R and Lowe, L J and Hanson, J L and Eerola, T and Lidhar, N and Noll-Hussong, M and Musser, E and Pintos Lobo, R and Wang, Y and Bensafi, M},\n\tdate-modified = {2021-10-16 20:13:02 +0100},\n\tdoi = {10.1016/j.neubiorev.2019.05.003},\n\tjournal = {Neuroscience & Biobehavioral Reviews},\n\tkeywords = {Theoretical/Review, Neuroscience},\n\tpages = {221-241},\n\ttitle = {The Role of Hedonics in the Human Affectome},\n\turl = {https://doi.org/10.1016/j.neubiorev.2019.05.003},\n\turl_link = {https://twitter.com/tuomas_ee/status/1126392845496197120},\n\tvolume = {102},\n\tyear = {2019},\n\tbdsk-url-1 = {https://doi.org/10.1016/j.neubiorev.2019.05.003}}\n\n

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\n \n\n \n \n Küssner, M., & Eerola, T.\n\n\n \n \n \n \n \n The Content and Functions of Vivid and Soothing Visual Imagery during Music Listening: Findings from a Survey Study.\n \n \n \n \n\n\n \n\n\n\n Psychomusicology: Music, Mind, and Brain, 29(2-3): 90-99. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{kussner_eerola2018,\n\tauthor = {K{\\"u}ssner, M. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:14:02 +0100},\n\tjournal = {Psychomusicology: Music, Mind, and Brain},\n\tkeywords = {Mental imagery & music},\n\tnumber = {2-3},\n\tpages = {90-99},\n\ttitle = {The Content and Functions of Vivid and Soothing Visual Imagery during Music Listening: Findings from a Survey Study},\n\turl = {https://doi.org/10.1037/pmu0000238},\n\tvolume = {29},\n\tyear = {2019},\n\tbdsk-url-1 = {https://doi.org/10.1037/pmu0000238}}\n\n

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\n \n\n \n \n Maksimainen, J., Eerola, T., & Saarikallio, S.\n\n\n \n \n \n \n \n Ambivalent Emotional Experiences of Everyday Visual and Musical Objects.\n \n \n \n \n\n\n \n\n\n\n Sage Open, 9(3): 2158244019876319. 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Ambivalent$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{maksimainen_2017,\n\tabstract = { Art brings rich, pleasurable experiences to our daily lives. However, many theories of art and aesthetics focus on specific strong experiences---in the contexts of museums, galleries, and concert halls and the aesthetic perception of canonized arts---disregarding the impact of daily experiences. Furthermore, pleasure is often treated as a simplistic concept of merely positive affective character, yet recent psychological research has revealed the experience of pleasure is far more complicated. This study explored the nature of pleasure evoked by everyday aesthetic objects. A mixture of statistical and qualitative methods was applied in the analysis of the data collected through a semi-structured online survey (N = 464). The result asserts the experience of emotional ambivalence occurred and was composed of a variety of nuanced emotions and related association, rather than just a combination of contradicting emotions. Such paradoxical pleasure is defined as a self-conscious hedonic exposure to negative emotions in art reception. The study also depicted four types of attitudinal ambivalence: loss, diversity, socio-ideology, and distance, reflecting contextual elements intertwined into experience, and the connection between ambivalence and intense emotional experience.},\n\tauthor = {Maksimainen, J. and Eerola, T. and Saarikallio, S.},\n\tdoi = {10.1177/2158244019876319},\n\tjournal = {Sage Open},\n\tkeywords = {Music & emotion},\n\tnumber = {3},\n\tpages = {2158244019876319},\n\ttitle = {Ambivalent Emotional Experiences of Everyday Visual and Musical Objects},\n\turl = {https://doi.org/10.1177/2158244019876319},\n\tvolume = {9},\n\tyear = {2019},\n\tbdsk-url-1 = {https://doi.org/10.1177/2158244019876319}}\n\n

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\n\n\n\n\n\n

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\n \n\n \n \n Lameira, A., Eerola, T., & Ravignani, A.\n\n\n \n \n \n \n \n Coupled whole-body rhythmic entrainment between two chimpanzees.\n \n \n \n \n\n\n \n\n\n\n Scientific Reports, 9(18914). 2019.\n \n\n\n\n
\n\n\n\n \n \n $\"Coupled$ Paper\n \n \n \n $\"Coupled$ link\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lameira_et_eerola,\n\tauthor = {Lameira, A. and Eerola, T. and Ravignani, A.},\n\tjournal = {Scientific Reports},\n\tkeywords = {Entrainment},\n\tnumber = {18914},\n\ttitle = {Coupled whole-body rhythmic entrainment between two chimpanzees},\n\turl = {https://doi.org/10.1038/s41598-019-55360-y},\n\turl_link = {https://twitter.com/tuomas_ee/status/1205415545652305920},\n\tvolume = {9},\n\tyear = {2019},\n\tbdsk-url-1 = {https://doi.org/10.1038/s41598-019-55360-y}}\n\n

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\n\n\n\n\n\n

\n

\n \n 2018\n \n \n (11)\n \n \n

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\n \n \n

\n \n\n \n \n Maksimainen, J., Wikgren, J., Eerola, T., & Saarikallio, S.\n\n\n \n \n \n \n \n The Effect of Memory in Inducing Pleasant Emotions with Musical and Pictorial Stimuli.\n \n \n \n \n\n\n \n\n\n\n Scientific Reports, 8(1): 17638. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n \n $\"The$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{maksimainen2018,\n\tauthor = {Maksimainen, J. and Wikgren, J. and Eerola, T. and Saarikallio, S.},\n\tdate-modified = {2021-10-16 20:54:40 +0100},\n\tdoi = {10.1038/s41598-018-35899-y},\n\tisbn = {2045-2322},\n\tjournal = {Scientific Reports},\n\tkeywords = {Music & emotion, Neuroscience},\n\tnumber = {1},\n\tpages = {17638},\n\ttitle = {The Effect of Memory in Inducing Pleasant Emotions with Musical and Pictorial Stimuli},\n\turl = {https://doi.org/10.1038/s41598-018-35899-y},\n\turl_link = {https://twitter.com/tuomas_ee/status/1070351288456671232},\n\tvolume = {8},\n\tyear = {2018},\n\tbdsk-url-1 = {https://doi.org/10.1038/s41598-018-35899-y}}\n\n

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\n\n\n\n

\n\n\n

\n \n\n \n \n Eerola, T., Vuoskoski, J. K., Peltola, H., Putkinen, V., & Schäfer, K.\n\n\n \n \n \n \n \n Towards a more explicit account of the transformation: Reply to comments on ``An integrative review of the enjoyment of sadness associated with music''.\n \n \n \n \n\n\n \n\n\n\n Physics of Life Reviews, 25: 156-166. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Towards$ Paper\n \n \n \n $\"Towards$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola_et_al_2018a,\n\tauthor = {Eerola, T. and Vuoskoski, J. K., and Peltola, H.-R. and Putkinen, V. and Sch{\\"a}fer, K.},\n\tdoi = {https://doi.org/10.1016/j.plrev.2018.06.013},\n\tissn = {1571-0645},\n\tjournal = {Physics of Life Reviews},\n\tkeywords = {Music & emotion, Sadness},\n\tpages = {156-166},\n\ttitle = {Towards a more explicit account of the transformation: Reply to comments on ``An integrative review of the enjoyment of sadness associated with music''},\n\turl = {http://www.sciencedirect.com/science/article/pii/S1571064518300769},\n\turl_link = {https://twitter.com/tuomas_ee/status/1017800249316913158},\n\tvolume = {25},\n\tyear = {2018},\n\tbdsk-url-1 = {http://www.sciencedirect.com/science/article/pii/S1571064518300769},\n\tbdsk-url-2 = {https://doi.org/10.1016/j.plrev.2018.06.013}}\n\n

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\n\n\n\n

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\n \n\n \n \n Schäfer, K., & Eerola, T.\n\n\n \n \n \n \n \n How listening to music and engagement with other media provide a sense of belonging: an exploratory study of social surrogacy.\n \n \n \n \n\n\n \n\n\n\n Psychology of Music, 48(2): 232-251. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"How$ Paper\n \n \n \n $\"How$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{schafer_eerola_2018,\n\tauthor = {Sch{\\"a}fer, K. and Eerola, T.},\n\tdate-modified = {2021-10-30 11:14:45 +0100},\n\tdoi = {10.1177/0305735618795036},\n\tjournal = {Psychology of Music},\n\tkeywords = {Music & emotion, Social},\n\tnumber = {2},\n\tpages = {232-251},\n\ttitle = {How listening to music and engagement with other media provide a sense of belonging: an exploratory study of social surrogacy},\n\turl = {https://doi.org/10.1177/0305735618795036},\n\turl_link = {https://twitter.com/tuomas_ee/status/1241293721737535489},\n\tvolume = {48},\n\tyear = {2018},\n\tbdsk-url-1 = {https://doi.org/10.1177/0305735618795036}}\n\n

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\n\n\n\n

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\n \n\n \n \n Bannister, S., & Eerola, T.\n\n\n \n \n \n \n \n Suppressing the Chills: Effects of Musical Manipulation on the Chills Response.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology, 9: 2046. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Suppressing$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{bannistereerola2018,\n\tauthor = {Bannister, S. and Eerola, T.},\n\tdoi = {10.3389/fpsyg.2018.02046},\n\tjournal = {Frontiers in Psychology},\n\tkeywords = {Music & emotion, Chills},\n\tpages = {2046},\n\ttitle = {Suppressing the Chills: Effects of Musical Manipulation on the Chills Response},\n\turl_link = {https://twitter.com/tuomas_ee/status/1056819518847270912},\n\tvolume = {9},\n\tyear = {2018},\n\tbdsk-url-1 = {https://doi.org/10.3389/fpsyg.2018.02046}}\n\n

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\n\n\n\n

\n\n\n

\n \n\n \n \n Clayton, M., Jakubowski, K., & Eerola, T.\n\n\n \n \n \n \n \n Interpersonal entrainment in Indian instrumental music performance: Synchronization and movement coordination relate to tempo, dynamics, metrical and cadential structure.\n \n \n \n \n\n\n \n\n\n\n Musicae Scientiae, 23: 304-331. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Interpersonal$ Paper\n \n \n \n $\"Interpersonal$ link\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{clayton_et_al_2018b,\n\tauthor = {Clayton, M. and Jakubowski, K. and Eerola, T.},\n\tissue = {3},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Entrainment},\n\tpages = {304-331},\n\ttitle = {Interpersonal entrainment in Indian instrumental music performance: Synchronization and movement coordination relate to tempo, dynamics, metrical and cadential structure},\n\turl = {https://doi.org/10.1177/1029864919844809},\n\turl_link = {https://twitter.com/tuomas_ee/status/1152861520373702656},\n\tvolume = {23},\n\tyear = {2018},\n\tbdsk-url-1 = {https://doi.org/10.1177/1029864919844809}}\n\n

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\n \n\n \n \n Cespedes-Guevara, J., & Eerola, T.\n\n\n \n \n \n \n \n Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology, 9: 215. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Music$ Paper\n \n \n \n $\"Music$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{cespedes_eerola2018,\n\tabstract = {Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music's ability to express core affects and the influence of top-down and contextual information in the listener's mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur.},\n\tauthor = {Cespedes-Guevara, J. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:11:54 +0100},\n\tdoi = {10.3389/fpsyg.2018.00215},\n\tissn = {1664-1078},\n\tjournal = {Frontiers in Psychology},\n\tkeywords = {Music & emotion, Theoretical/Review, Emotional expression},\n\tpages = {215},\n\ttitle = {Music Communicates Affects, Not Basic Emotions -- A Constructionist Account of Attribution of Emotional Meanings to Music},\n\turl = {https://www.frontiersin.org/article/10.3389/fpsyg.2018.00215},\n\turl_link = {https://twitter.com/JulianCespG/status/968856502953013248},\n\tvolume = {9},\n\tyear = {2018},\n\tbdsk-url-1 = {https://www.frontiersin.org/article/10.3389/fpsyg.2018.00215},\n\tbdsk-url-2 = {https://doi.org/10.3389/fpsyg.2018.00215}}\n\n

\n

\n\n\n

\n Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music's ability to express core affects and the influence of top-down and contextual information in the listener's mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur.\n

\n\n\n

\n \n\n \n \n Reybrouck, M., Eerola, T., & Podlipniak, P.\n\n\n \n \n \n \n \n Editorial: Music and the Functions of the Brain: Arousal, Emotions, and Pleasure.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Editorial:$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{reybrouck_eerola_podliniak,\n\tauthor = {Reybrouck, M. and Eerola, T. and Podlipniak, P.},\n\tdoi = {10.3389/fpsyg.2018.00113},\n\tjournal = {Frontiers in Psychology},\n\tkeywords = {Music & emotion, Theoretical/Review},\n\ttitle = {Editorial: Music and the Functions of the Brain: Arousal, Emotions, and Pleasure},\n\turl = {https://doi.org/10.3389/fpsyg.2018.00113},\n\tyear = {2018},\n\tbdsk-url-1 = {https://doi.org/10.3389/fpsyg.2018.00113}}\n\n

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\n \n\n \n \n Eerola, T., Vuoskoski, J. K., Peltola, H., Putkinen, V., & Schäfer, K.\n\n\n \n \n \n \n \n An integrative review of the enjoyment of sadness associated with music.\n \n \n \n \n\n\n \n\n\n\n Physics of Life Reviews, 25: 100-121. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"An$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{eerola_review2018,\n\tauthor = {Eerola, T. and Vuoskoski, J. K. and Peltola, H.-R. and Putkinen, V. and Sch{\\"a}fer, K.},\n\tdoi = {10.1016/j.plrev.2017.11.016},\n\tjournal = {Physics of Life Reviews},\n\tkeywords = {Music & emotion, Sadness, Theoretical/Review},\n\tpages = {100-121},\n\ttitle = {An integrative review of the enjoyment of sadness associated with music},\n\turl = {https://doi.org/10.1016/j.plrev.2017.11.016},\n\tvolume = {25},\n\tyear = {2018},\n\tbdsk-url-1 = {https://doi.org/10.1016/j.plrev.2017.11.016}}\n\n

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\n \n\n \n \n Eerola, T., Jakubowski, K., Moran, N., Keller, P., & Clayton, M.\n\n\n \n \n \n \n \n Shared Periodic Performer Movements Coordinate Interactions in Duo Improvisations.\n \n \n \n \n\n\n \n\n\n\n Royal Society Open Science, 5: 171520. 2018.\n \n\n\n\n
\n\n\n\n \n \n $\"Shared$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola_et_al_2018b,\n\tauthor = {Eerola, T. and Jakubowski, K. and Moran, N. and Keller, P. and Clayton, M.},\n\tdoi = {http://dx.doi.org/10.1098/rsos.171520},\n\tjournal = {Royal Society Open Science},\n\tkeywords = {Entrainment},\n\tpages = {171520},\n\ttitle = {Shared Periodic Performer Movements Coordinate Interactions in Duo Improvisations},\n\turl_link = {https://twitter.com/tuomas_ee/status/966239975120474112},\n\tvolume = {5},\n\tyear = {2018},\n\tbdsk-url-1 = {http://dx.doi.org/10.1098/rsos.171520}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Three controversies of Music & emotion: Neuroscience and psychology of sadness and music, pages 219–234. Gouk, P, Kennaway, J, J, P., & Thormahlen, W, editor(s). Routledge, New York, NY, USA, 2018.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@inbook{eerola2016,\n\taddress = {New York, NY, USA},\n\tauthor = {Eerola, T.},\n\tbooktitle = {The Routledge Companion to Music, Mind, and Wellbeing},\n\tdoi = {https://doi.org/10.4324/9781315164717},\n\teditor = {Gouk, P and Kennaway, J and Prins J and Thormahlen, W},\n\tkeywords = {Music & emotion},\n\tpages = {219--234},\n\tpublisher = {Routledge},\n\ttitle = {Three controversies of Music & emotion: Neuroscience and psychology of sadness and music},\n\tyear = {2018},\n\tbdsk-url-1 = {https://doi.org/10.4324/9781315164717}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Music and Emotion, pages 539-556. Bader, R., & Koelsch, S., editor(s). Springer, 2018.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@inbook{eerola2016handbook,\n\tauthor = {Eerola, T.},\n\tbooktitle = {Handbook of Systematic Musicology},\n\teditor = {Bader, R. and Koelsch, S.},\n\tkeywords = {Music & emotion},\n\tpages = {539-556},\n\tpublisher = {Springer},\n\ttitle = {Music and Emotion},\n\tyear = {2018}}\n\n

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\n\n\n\n\n\n

\n

\n \n 2017\n \n \n (9)\n \n \n

\n

\n \n \n

\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n \n Explaining the enjoyment of negative emotions evoked by the arts: The need to consider empathy and other underlying mechanisms of emotion induction.\n \n \n \n \n\n\n \n\n\n\n Behavioral and Brain Sciences, 40: 42-43. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Explaining$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{vuoskoski_eerola,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:11:18 +0100},\n\tdoi = {10.1017/S0140525X1700187X},\n\tjournal = {Behavioral and Brain Sciences},\n\tkeywords = {Music & emotion, Theoretical/Review, Individual differences},\n\tpages = {42-43},\n\tpublisher = {Cambridge University Press},\n\ttitle = {Explaining the enjoyment of negative emotions evoked by the arts: The need to consider empathy and other underlying mechanisms of emotion induction},\n\turl = {https://doi.org/10.1017/S0140525X1700187X},\n\tvolume = {40},\n\tyear = {2017},\n\tbdsk-url-1 = {https://doi.org/10.1017/S0140525X1700187X}}\n\n

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\n\n\n\n

\n\n\n

\n \n\n \n \n Garrido, S., Eerola, T., & McFerran, K.\n\n\n \n \n \n \n \n Group rumination: Social interactions around music in people with depression.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology, section Personality and Social Psychology. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Group$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{garrido_etal_2017,\n\tauthor = {Garrido, S. and Eerola, T. and McFerran, K.},\n\tdate-modified = {2021-10-16 20:10:41 +0100},\n\tdoi = {10.3389/fpsyg.2017.00490},\n\tjournal = {Frontiers in Psychology, section Personality and Social Psychology},\n\tkeywords = {Music & emotion, Sadness, Individual differences},\n\ttitle = {Group rumination: Social interactions around music in people with depression},\n\turl = {https://doi.org/10.3389/fpsyg.2017.00490},\n\tyear = {2017},\n\tbdsk-url-1 = {https://doi.org/10.3389/fpsyg.2017.00490}}\n\n

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\n\n\n\n

\n\n\n

\n \n\n \n \n Bonneville-Roussy, A., Eerola, T., & Rust, J. N.\n\n\n \n \n \n \n \n Age trends in musical preferences in adulthood 3: Perceived musical attributes as intrinsic determinants of preferences.\n \n \n \n \n\n\n \n\n\n\n Musicae Scientiae. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Age$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{bonneville-roussy_et_al_2017,\n\tauthor = {Bonneville-Roussy, A. and Eerola, T. and Rust, J. N.},\n\tdate-modified = {2021-10-16 17:25:41 +0100},\n\tdoi = {10.1177/1029864917718606},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Music preferences},\n\ttitle = {Age trends in musical preferences in adulthood 3: Perceived musical attributes as intrinsic determinants of preferences},\n\turl = {https://doi.org/10.1177/1029864917718606},\n\tyear = {2017},\n\tbdsk-url-1 = {https://doi.org/10.1177/1029864917718606}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Hadley, L. V., P., S., Eerola, T., & Pickering, M. J.\n\n\n \n \n \n \n \n Incremental comprehension of pitch relationships in written music: Evidence from eye movements.\n \n \n \n \n\n\n \n\n\n\n The Quarterly Journal of Experimental Psychology. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Incremental$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{hadley_et_al_2017,\n\tauthor = {Hadley, L. V. and Sturt P. and Eerola, T. and Pickering, M. J.},\n\tdate-modified = {2021-10-16 17:26:00 +0100},\n\tdoi = {10.1080/17470218.2017.1307861},\n\tjournal = {The Quarterly Journal of Experimental Psychology},\n\tkeywords = {Melodic expectancy},\n\ttitle = {Incremental comprehension of pitch relationships in written music: Evidence from eye movements},\n\turl = {http://dx.doi.org/10.1080/17470218.2017.1307861},\n\tyear = {2017},\n\tbdsk-url-1 = {http://dx.doi.org/10.1080/17470218.2017.1307861}}\n\n

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\n\n\n\n

\n\n\n

\n \n\n \n \n Jakubowski, K., Eerola, T., Alborno, P., Volpe, G., Camurri, A., & Clayton, M.\n\n\n \n \n \n \n Extracting Coarse Body Movements from Video in Music Performance: A Comparison of Automated Computer Vision Techniques with Motion Capture Data.\n \n \n \n\n\n \n\n\n\n Frontiers in Digital Humanities, 4(9). 2017.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{jakubowski_et_al_2017,\n\tauthor = {Jakubowski, K. and Eerola, T. and Alborno, P. and Volpe, G. and Camurri, A. and Clayton, M.},\n\tdoi = {10.3389/fdigh.2017.00009},\n\tjournal = {Frontiers in Digital Humanities},\n\tkeywords = {Entrainment},\n\tnumber = {9},\n\ttitle = {Extracting Coarse Body Movements from Video in Music Performance: A Comparison of Automated Computer Vision Techniques with Motion Capture Data},\n\tvolume = {4},\n\tyear = {2017},\n\tbdsk-url-1 = {https://doi.org/10.3389/fdigh.2017.00009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Reybrouck, M., & Eerola, T.\n\n\n \n \n \n \n \n Music and its inductive power: a psychobiological and evolutionary approach to musical emotions.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Human Neuroscience. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Music$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{reybrouck_eerola_2017,\n\tauthor = {Reybrouck, M. and Eerola, T.},\n\tjournal = {Frontiers in Human Neuroscience},\n\tkeywords = {Music & emotion, Theoretical/Review},\n\ttitle = {Music and its inductive power: a psychobiological and evolutionary approach to musical emotions},\n\turl = {https://doi.org/10.3389/fpsyg.2017.00494},\n\tyear = {2017},\n\tbdsk-url-1 = {https://doi.org/10.3389/fpsyg.2017.00494}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Putkinen, V., Makkonen, T., & Eerola, T.\n\n\n \n \n \n \n \n Music-induced positive mood broadens the scope of auditory attention.\n \n \n \n \n\n\n \n\n\n\n Social, Cognitive and Affective Neuroscience. 2017.\n \n\n\n\n
\n\n\n\n \n \n $\"Music-induced$ Paper\n \n \n \n $\"Music-induced$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{putkinen_makkonen_eerola,\n\tauthor = {Putkinen, V. and Makkonen, T. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:13:33 +0100},\n\tdoi = {10.1093/scan/nsx038},\n\tjournal = {Social, Cognitive and Affective Neuroscience},\n\tkeywords = {Music & emotion, Sadness, Neuroscience},\n\ttitle = {Music-induced positive mood broadens the scope of auditory attention},\n\turl = {https://doi.org/10.1093/scan/nsx038},\n\turl_link = {https://twitter.com/tuomas_ee/status/871727878806884353},\n\tyear = {2017},\n\tbdsk-url-1 = {https://doi.org/10.1093/scan/nsx038}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n The pleasure evoked by sad music is mediated by feelings of being moved.\n \n \n \n\n\n \n\n\n\n Frontiers in Psychology, 8: 439. 2017.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{vuoskoski2017,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tdoi = {10.3389/fpsyg.2017.00439},\n\tjournal = {Frontiers in Psychology},\n\tkeywords = {Music & emotion, Sadness},\n\tpages = {439},\n\ttitle = {The pleasure evoked by sad music is mediated by feelings of being moved},\n\tvolume = {8},\n\tyear = {2017},\n\tbdsk-url-1 = {https://doi.org/10.3389/fpsyg.2017.00439}}\n\n

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\n\n\n\n

\n\n\n

\n \n\n \n \n Pearce, M. T., & Eerola, T.\n\n\n \n \n \n \n Music perception in historical audiences: Towards predictive models of music perception in historical audiences.\n \n \n \n\n\n \n\n\n\n Journal of Interdisciplinary Studies of Music, 8(1-2): 91-120. 2017.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{pearce_et_eerola2014,\n\tauthor = {Pearce, M. T. and Eerola, T.},\n\tjournal = {Journal of Interdisciplinary Studies of Music},\n\tkeywords = {Computational modelling},\n\tnumber = {1-2},\n\tpages = {91-120},\n\ttitle = {Music perception in historical audiences: Towards predictive models of music perception in historical audiences},\n\tvolume = {8},\n\tyear = {2017}}\n\n

\n

\n\n\n\n

\n\n\n\n\n\n

\n

\n \n 2016\n \n \n (11)\n \n \n

\n

\n \n \n

\n \n\n \n \n Eerola, T., Vuoskoski, J. K., & Kautiainen, H.\n\n\n \n \n \n \n \n Being Moved by Unfamiliar Sad Music Is Associated with High Empathy.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology, 7: 1176. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Being$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

\n

@article{eerola_et_2016,\n\tabstract = {The paradox of enjoying listening to music that evokes sadness is yet to be fully understood. Unlike prior studies that have explored potential explanations related to lyrics, memories, and  mood regulation, we investigated the types of emotions induced by unfamiliar, instrumental sad music, and whether these responses are consistently associated with certain individual difference variables. One hundred and two participants were drawn from a representative sample to minimise self-selection bias. The results suggest that the emotional responses induced by unfamiliar sad music could be characterized in terms of three underlying factors: Relaxing sadness, Moving sadness, and Nervous sadness. Relaxing sadness was characterized by felt and perceived peacefulness and positive valence. Moving sadness captured an intense experience that involved feelings of sadness and being moved. Nervous sadness was associated with felt anxiety, perceived scariness and negative valence. These interpretations were supported by indirect measures of felt emotion. Experiences of Moving sadness were strongly associated with high trait empathy and emotional contagion, but not with other previously suggested traits such as absorption or nostalgia-proneness. Relaxing sadness and Nervous sadness were not significantly predicted by any of the individual difference variables. The findings are interpreted within a theoretical framework of embodied emotions.},\n\tauthor = {Eerola, T. and Vuoskoski, J. K. and Kautiainen, H.},\n\tdate-modified = {2021-10-16 20:11:10 +0100},\n\tdoi = {10.3389/fpsyg.2016.01176},\n\tissn = {1664-1078},\n\tjournal = {Frontiers in Psychology},\n\tkeywords = {Music & emotion, Sadness, Individual differences},\n\tpages = {1176},\n\ttitle = {Being Moved by Unfamiliar Sad Music Is Associated with High Empathy},\n\turl = {http://journal.frontiersin.org/article/10.3389/fpsyg.2016.01176},\n\tvolume = {7},\n\tyear = {2016},\n\tbdsk-url-1 = {http://journal.frontiersin.org/article/10.3389/fpsyg.2016.01176},\n\tbdsk-url-2 = {https://doi.org/10.3389/fpsyg.2016.01176}}\n\n

\n

\n\n\n\n\n\n

\n\n\n

\n \n\n \n \n Paschalidou, S., Eerola, T., & Clayton, M.\n\n\n \n \n \n \n \n Voice and Movement As Predictors of Gesture Types and Physical Effort in Virtual Object Interactions of Classical Indian Singing.\n \n \n \n \n\n\n \n\n\n\n In Proceedings of the 3rd International Symposium on Movement and Computing, of MOCO '16, pages 45:1–45:2, New York, NY, USA, 2016. ACM\n \n\n\n\n
\n\n\n\n \n \n $\"Voice$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{paschalidou2016,\n\tacmid = {2948914},\n\taddress = {New York, NY, USA},\n\tarticleno = {45},\n\tauthor = {Paschalidou, S. and Eerola, T. and Clayton, M.},\n\tbooktitle = {Proceedings of the 3rd International Symposium on Movement and Computing},\n\tdate-modified = {2021-10-16 20:08:10 +0100},\n\tdoi = {10.1145/2948910.2948914},\n\tisbn = {978-1-4503-4307-7},\n\tkeywords = {Entrainment},\n\tlocation = {Thessaloniki, GA, Greece},\n\tnumpages = {2},\n\tpages = {45:1--45:2},\n\tpublisher = {ACM},\n\tseries = {MOCO '16},\n\ttitle = {Voice and Movement As Predictors of Gesture Types and Physical Effort in Virtual Object Interactions of Classical Indian Singing},\n\turl = {http://doi.acm.org/10.1145/2948910.2948914},\n\tyear = {2016},\n\tbdsk-url-1 = {http://doi.acm.org/10.1145/2948910.2948914},\n\tbdsk-url-2 = {https://doi.org/10.1145/2948910.2948914}}\n\n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n \n MIDI toolbox 1.1.\n \n \n \n \n\n\n \n\n\n\n Technical Report Durham University, UK, 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"MIDI$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@techreport{miditoolbox2016,\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tinstitution = {Durham University, UK},\n\tkeywords = {Computational modelling},\n\ttitle = {{MIDI} toolbox 1.1},\n\turl = {https://github.com/miditoolbox/},\n\tyear = {2016},\n\tbdsk-url-1 = {https://github.com/miditoolbox/}}\n\n

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\n \n\n \n \n Eerola, T., & Peltola, H.\n\n\n \n \n \n \n \n Memorable Experiences with Sad Music - Reasons, Reactions and Mechanisms of Three Types of Experiences.\n \n \n \n \n\n\n \n\n\n\n PlosOne, 11(6): e0157444. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Memorable$ link\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola_peltola2016,\n\tauthor = {Eerola, T. and Peltola, H.-R.},\n\tdoi = {http://dx.doi.org/10.1371/journal.pone.0157444},\n\tjournal = {PlosOne},\n\tkeywords = {Music & emotion, Sadness},\n\tnumber = {6},\n\tpages = {e0157444},\n\ttitle = {Memorable Experiences with Sad Music - Reasons, Reactions and Mechanisms of Three Types of Experiences},\n\turl_link = {https://twitter.com/tuomas_ee/status/867842552824594432},\n\tvolume = {11},\n\tyear = {2016},\n\tbdsk-url-1 = {http://dx.doi.org/10.1371/journal.pone.0157444}}\n\n

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\n \n\n \n \n Lahdelma, I., & Eerola, T.\n\n\n \n \n \n \n \n Mild dissonance preferred over consonance in single chord perception.\n \n \n \n \n\n\n \n\n\n\n i-Perception, 7(3): 1-21. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Mild$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lahdelma_eerola2016,\n\tauthor = {Lahdelma, I. and Eerola, T.},\n\tjournal = {i-Perception},\n\tkeywords = {Consonance/dissonance},\n\tnumber = {3},\n\tpages = {1-21},\n\ttitle = {Mild dissonance preferred over consonance in single chord perception},\n\turl = {https://doi.org/10.1177/2041669516655812},\n\tvolume = {7},\n\tyear = {2016},\n\tbdsk-url-1 = {https://doi.org/10.1177/2041669516655812}}\n\n

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\n \n\n \n \n Brattico, E., Bogert, B., Alluri, V., Tervaniemi, M., Eerola, T., & Jacobsen, T.\n\n\n \n \n \n \n It's sad but I like it: The neural dissociation between musical emotions and liking in experts and laypersons.\n \n \n \n\n\n \n\n\n\n Frontiers in Human Neuroscience, 9(6): http://dx.doi.org/10.3389/fnhum.2015.00676. 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{brattico_et_al_2016,\n\tauthor = {Brattico, E. and Bogert, B. and Alluri, V. and Tervaniemi, M. and Eerola, T. and Jacobsen, T.},\n\tdate-modified = {2021-10-16 20:13:09 +0100},\n\tjournal = {Frontiers in Human Neuroscience},\n\tkeywords = {Music & emotion, Sadness, Neuroscience},\n\tnumber = {6},\n\tpages = {http://dx.doi.org/10.3389/fnhum.2015.00676},\n\ttitle = {It's sad but I like it: The neural dissociation between musical emotions and liking in experts and laypersons},\n\tvolume = {9},\n\tyear = {2016}}\n\n

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\n \n\n \n \n Hausmann, M., Hodgetts, S., & Eerola, T.\n\n\n \n \n \n \n Music-induced changes in functional cerebral asymmetries.\n \n \n \n\n\n \n\n\n\n Brain and Cognition, 104(58-71). 2016.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{hausmann2015,\n\tauthor = {Hausmann, M. and Hodgetts, S. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:54:05 +0100},\n\tjournal = {Brain and Cognition},\n\tkeywords = {Music & emotion, Neuroscience},\n\tnumber = {58-71},\n\ttitle = {Music-induced changes in functional cerebral asymmetries},\n\tvolume = {104},\n\tyear = {2016}}\n\n

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\n \n\n \n \n Peltola, H., & Eerola, T.\n\n\n \n \n \n \n \n Fifty Shades of Blue: Classification of music-evoked sadness.\n \n \n \n \n\n\n \n\n\n\n Musicae Scientiae, 20(1): 84-102. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Fifty$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{peltola2015,\n\tauthor = {Peltola, H.-R. and Eerola, T.},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Music & emotion, Sadness},\n\tnumber = {1},\n\tpages = {84-102},\n\ttitle = {Fifty Shades of Blue: Classification of music-evoked sadness},\n\turl = {https://doi.org/10.1177/1029864915611206},\n\tvolume = {20},\n\tyear = {2016},\n\tbdsk-url-1 = {https://doi.org/10.1177/1029864915611206}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n \n Expectancy-violation and information-theoretic models of melodic complexity.\n \n \n \n \n\n\n \n\n\n\n Empirical Musicology Review, 11(1): 2-17. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Expectancy-violation$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{eerola2015expectancy,\n\tabstract = {The present study assesses two types of models for melodic complexity: one based on expectancy violations and the other one related to an information-theoretic account of redundancy in music. Seven different datasets spanning artificial sequences, folk and pop songs were used to refine and assess the models. The refinement eliminated unnecessary components from both types of models. The final analysis pitted three variants of the two model types against each other and could explain from 46-74% of the variance in the ratings across the datasets. The most parsimonious models were identified with an information-theoretic criterion. This suggested that the simplified expectancy-violation models were the most efficient for these sets of data. However, the differences between all optimized models were subtle in terms both of performance and simplicity.},\n\tauthor = {Eerola, T.},\n\tdoi = {http://dx.doi.org/10.18061/emr.v11i1.4836},\n\tjournal = {Empirical Musicology Review},\n\tkeywords = {Complexity},\n\tnumber = {1},\n\tpages = {2-17},\n\ttitle = {Expectancy-violation and information-theoretic models of melodic complexity},\n\turl = {http://dx.doi.org/10.18061/emr.v11i1.4836},\n\tvolume = {11},\n\tyear = {2016},\n\tbdsk-url-1 = {http://dx.doi.org/10.18061/emr.v11i1.4836}}\n\n

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\n \n\n \n \n Saari, P., Eerola, T., Barthet, M., Fazekas, G., & Lartillot, O.\n\n\n \n \n \n \n \n Genre-adaptive Semantic Computing and Audio-based Modelling for Music Mood Annotation.\n \n \n \n \n\n\n \n\n\n\n IEEE Transactions on Affective Computing, 7(2): 122-135. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Genre-adaptive$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{saari_et_al_2015,\n\tauthor = {Saari, P. and Eerola, T. and Barthet, M. and Fazekas, G. and Lartillot, O.},\n\tdoi = {10.1109/TAFFC.2015.2462841},\n\tjournal = {IEEE Transactions on Affective Computing},\n\tkeywords = {Computational modelling},\n\tnumber = {2},\n\tpages = {122-135},\n\ttitle = {Genre-adaptive Semantic Computing and Audio-based Modelling for Music Mood Annotation},\n\turl = {https://doi.org/10.1109/TAFFC.2015.2462841},\n\tvolume = {7},\n\tyear = {2016},\n\tbdsk-url-1 = {https://doi.org/10.1109/TAFFC.2015.2462841}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Lahdelma, I., & Eerola, T.\n\n\n \n \n \n \n \n Single chords convey distinct emotional qualities to both naı̈ve and expert listeners.\n \n \n \n \n\n\n \n\n\n\n Psychology of Music, 44(1): 37-54. 2016.\n \n\n\n\n
\n\n\n\n \n \n $\"Single$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{lahdelma_et_eerola2014,\n\tauthor = {Lahdelma, I. and Eerola, T.},\n\tjournal = {Psychology of Music},\n\tkeywords = {Consonance/dissonance},\n\tnumber = {1},\n\tpages = {37-54},\n\ttitle = {Single chords convey distinct emotional qualities to both na{\\"\\i}ve and expert listeners},\n\turl = {https://doi.org/10.1177/0305735614552006},\n\tvolume = {44},\n\tyear = {2016},\n\tbdsk-url-1 = {https://doi.org/10.1177/0305735614552006}}\n\n

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\n\n\n\n\n\n

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\n \n 2015\n \n \n (4)\n \n \n

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\n \n \n

\n \n\n \n \n Lahdelma, I., & Eerola, T.\n\n\n \n \n \n \n Theoretical proposals how vertical harmony may convey nostalgia and longing in music.\n \n \n \n\n\n \n\n\n\n Empirical Musicology Review, 10(3): 245-263. 2015.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lahdelma_eerola2015,\n\tauthor = {Lahdelma, I. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:49:53 +0100},\n\tdoi = {http://emusicology.org/article/view/4534/4151},\n\tjournal = {Empirical Musicology Review},\n\tkeywords = {Consonance/dissonance},\n\tnumber = {3},\n\tpages = {245-263},\n\ttitle = {Theoretical proposals how vertical harmony may convey nostalgia and longing in music},\n\tvolume = {10},\n\tyear = {2015},\n\tbdsk-url-1 = {http://emusicology.org/article/view/4534/4151}}\n\n

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\n \n\n \n \n Eerola, T., Peltola, H., & Vuoskoski, J. K.\n\n\n \n \n \n \n \n Attitudes towards sad music are related to both preferential and contextual strategies.\n \n \n \n \n\n\n \n\n\n\n Psychomusicology: Music, Mind, and Brain, 25(2): 116-123. 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Attitudes$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola2015attitudes,\n\tauthor = {Eerola, T. and Peltola, H.-R. and Vuoskoski, J. K.},\n\tjournal = {Psychomusicology: Music, Mind, and Brain},\n\tkeywords = {Music & emotion, Sadness},\n\tnumber = {2},\n\tpages = {116-123},\n\ttitle = {Attitudes towards sad music are related to both preferential and contextual strategies},\n\turl = {https://doi.org/10.1037/pmu0000096},\n\tvolume = {25},\n\tyear = {2015},\n\tbdsk-url-1 = {https://doi.org/10.1037/pmu0000096}}\n\n

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\n \n\n \n \n Juslin, P. N., Barradas, G., & Eerola, T.\n\n\n \n \n \n \n \n From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music.\n \n \n \n \n\n\n \n\n\n\n American Journal of Psychology, 128(3): 281-304. 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"From$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{juslin_et_al_2014,\n\tabstract = {A common approach to studying emotional reactions to music is to attempt to obtain direct links between musical surface features such as tempo and a listener's responses. however, such an analysis ultimately fails to explain why emotions are aroused in the listener. in this article we explore an alternative approach, which aims to account for musical emotions in terms of a set of psychological mechanisms that are activated by different types of information in a musical event. this approach was tested in 4 experiments that manipulated 4 mechanisms (brain stem reflex, contagion, episodic memory, musical expectancy) by selecting existing musical pieces that featured information relevant for each mechanism. the excerpts were played to 60 listeners, who were asked to rate their felt emotions on 15 scales. skin conductance levels and facial expressions were measured, and listeners reported subjective impressions of relevance to specific mechanisms. results indicated that the target mechanism conditions evoked emotions largely as predicted by a multimechanism framework and that mostly similar effects occurred across the experiments that included different pieces of music. we conclude that a satisfactory account of musical emotions requires consideration of how musical features and responses are mediated by a range of underlying mechanisms.},\n\tauthor = {Juslin, P. N. and Barradas, G. and Eerola, T.},\n\tdoi = {10.5406/amerjpsyc.128.3.0281},\n\tjournal = {American Journal of Psychology},\n\tkeywords = {Music & emotion},\n\tnumber = {3},\n\tpages = {281-304},\n\ttitle = {From Sound to Significance: Exploring the Mechanisms Underlying Emotional Reactions to Music},\n\turl = {https://doi.org/10.5406/amerjpsyc.128.3.0281},\n\tvolume = {128},\n\tyear = {2015},\n\tbdsk-url-1 = {https://doi.org/10.5406/amerjpsyc.128.3.0281}}\n\n

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\n\n\n

\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n \n Extramusical information contributes to emotions induced by music.\n \n \n \n \n\n\n \n\n\n\n Psychology of Music, 43(2): 262-274. 2015.\n \n\n\n\n
\n\n\n\n \n \n $\"Extramusical$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{vuoskoski_eerola_2015,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tjournal = {Psychology of Music},\n\tkeywords = {Music & emotion},\n\tnumber = {2},\n\tpages = {262-274},\n\ttitle = {Extramusical information contributes to emotions induced by music},\n\turl = {https://doi.org/10.1177/0305735613502373},\n\tvolume = {43},\n\tyear = {2015},\n\tbdsk-url-1 = {https://doi.org/10.1177/0305735613502373}}\n\n

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\n \n 2014\n \n \n (7)\n \n \n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Music in the Social and Behavioral Sciences: An Encyclopedia, pages 227-229. Thompson, W. F., editor(s). SAGE, London, UK, 2014.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inbook{eerola14a,\n\taddress = {London, UK},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Music in the Social and Behavioral Sciences, An Encyclopedia},\n\teditor = {Thompson, William Forde},\n\tkeywords = {Textbook, Complexity},\n\tpages = {227-229},\n\tpublisher = {SAGE},\n\ttitle = {Music in the Social and Behavioral Sciences: An Encyclopedia},\n\tyear = {2014}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Music in the Social and Behavioral Sciences: An Encyclopedia, pages 316-319. Thompson, W. F., editor(s). SAGE, London, UK, 2014.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola14b,\n\taddress = {London, UK},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Music in the Social and Behavioral Sciences, An Encyclopedia},\n\teditor = {Thompson, William Forde},\n\tkeywords = {Textbook},\n\tpages = {316-319},\n\tpublisher = {SAGE},\n\ttitle = {Music in the Social and Behavioral Sciences: An Encyclopedia},\n\tyear = {2014}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Music in the Social and Behavioral Sciences: An Encyclopedia, pages 1003-1006. Thompson, W. F., editor(s). SAGE, London, UK, 2014.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola14c,\n\taddress = {London, UK},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Music in the Social and Behavioral Sciences, An Encyclopedia},\n\teditor = {Thompson, William Forde},\n\tkeywords = {Textbook},\n\tpages = {1003-1006},\n\tpublisher = {SAGE},\n\ttitle = {Music in the Social and Behavioral Sciences: An Encyclopedia},\n\tyear = {2014}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Music in the Social and Behavioral Sciences: An Encyclopedia, pages 684-688. Thompson, W. F., editor(s). SAGE, London, UK, 2014.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola14d,\n\taddress = {London, UK},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Music in the Social and Behavioral Sciences, An Encyclopedia},\n\teditor = {Thompson, William Forde},\n\tkeywords = {Textbook},\n\tpages = {684-688},\n\tpublisher = {SAGE},\n\ttitle = {Music in the Social and Behavioral Sciences: An Encyclopedia},\n\tyear = {2014}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Modelling Emotions in Music: Advances in Conceptual, Contextual and Validity Issues.\n \n \n \n\n\n \n\n\n\n In AES 53RD INTERNATIONAL CONFERENCE, London, UK, 2014 January 27–29, 2014. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@inproceedings{eerola2014a,\n\tauthor = {Eerola, T.},\n\tbooktitle = {AES 53RD INTERNATIONAL CONFERENCE, London, UK, 2014 January 27--29},\n\tdate-modified = {2021-10-16 17:23:32 +0100},\n\tkeywords = {Music & emotion, Computational modelling},\n\ttitle = {Modelling Emotions in Music: Advances in Conceptual, Contextual and Validity Issues},\n\tyear = {2014}}\n\n

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\n\n\n\n

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\n \n\n \n \n Eerola, P., & Eerola, T.\n\n\n \n \n \n \n \n Extended Music Education Enhances the Quality of School Life.\n \n \n \n \n\n\n \n\n\n\n Music Education Research, 16(1): 88-104. 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Extended$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola_and_eerola2014,\n\tabstract = {The claim of whether music education can create social benefits in the school environment was tested in 10 Finnish schools with an extended music curricular class and control classes. The quality of school life (QSL) was assessed by a representative sample (N=735) of pupils at years 3 and 6 (9- and 12-years-olds). The results showed that extended music education enhances the QSL, particularly in areas related to general satisfaction about the school and a sense of achievement and opportunity for students. Differences related to the schools and gender did not account for the results. A follow-up study examined whether the increase in critical QSL variables was related to music. This analysis utilised data from other classes (N=98) with an extended curriculum (sports and visual arts). These classes did not confer similar benefits. Overall, the results imply that extended music education has a positive effect on the social aspects of schooling.},\n\tauthor = {Eerola, P.-S. and Eerola, T.},\n\tjournal = {Music Education Research},\n\tkeywords = {Music education},\n\tnumber = {1},\n\tpages = {88-104},\n\ttitle = {Extended Music Education Enhances the Quality of School Life},\n\turl = {https://doi.org/10.1080/14613808.2013.829428},\n\tvolume = {16},\n\tyear = {2014},\n\tbdsk-url-1 = {https://doi.org/10.1080/14613808.2013.829428}}\n\n

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\n \n\n \n \n Saari, P., & Eerola, T.\n\n\n \n \n \n \n \n Semantic Computing of Moods Based on Tags in Social Media of Music.\n \n \n \n \n\n\n \n\n\n\n IEEE Transactions on Knowledge and Data Engineering, 26(10): 2548-2560. 2014.\n \n\n\n\n
\n\n\n\n \n \n $\"Semantic$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n \n \n 2 downloads\n \n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{saari_eerola_2014,\n\tabstract = {Social tags inherent in online music services such as Last.fm provide a rich source of information on musical moods. The abundance of social tags makes this data highly beneficial for developing techniques to manage and retrieve mood information, and enables study of the relationships between music content and mood representations with data substantially larger than that available for conventional emotion research. However, no systematic assessment has been done on the accuracy of social tags and derived semantic models at capturing mood information in music. We propose a novel technique called Affective Circumplex Transformation (ACT) for representing the moods of music tracks in an interpretable and robust fashion based on semantic computing of social tags and research in emotion modeling. We validate the technique by predicting listener ratings of moods in music tracks, and compare the results to prediction with the Vector Space Model (VSM), Singular Value Decomposition (SVD), Nonnegative Matrix Factorization (NMF), and Probabilistic Latent Semantic Analysis (PLSA). The results show that ACT consistently outperforms the baseline techniques, and its performance is robust against a low number of track-level mood tags. The results give validity and analytical insights for harnessing millions of music tracks and associated mood data available through social tags in application development.},\n\tauthor = {Saari, P. and Eerola, T.},\n\tdoi = {10.1109/TKDE.2013.128},\n\tjournal = {IEEE Transactions on Knowledge and Data Engineering},\n\tkeywords = {Computational modelling},\n\tnumber = {10},\n\tpages = {2548-2560},\n\ttitle = {Semantic Computing of Moods Based on Tags in Social Media of Music},\n\turl = {https://ieeexplore.ieee.org/document/6573289},\n\tvolume = {26},\n\tyear = {2014},\n\tbdsk-url-1 = {https://ieeexplore.ieee.org/document/6573289},\n\tbdsk-url-2 = {https://doi.org/10.1109/TKDE.2013.128}}\n\n

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\n \n 2013\n \n \n (9)\n \n \n

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\n \n\n \n \n Saari, P., Barthet, M., Fazekas, G., Eerola, T., & Sandler, M.\n\n\n \n \n \n \n Semantic Models of Mood Expressed by Music: Comparison between Crowd-sourced and Curated Editorial Annotations.\n \n \n \n\n\n \n\n\n\n In IEEE International Conference on Multimedia and Expo (ICME 2013): International Workshop on Affective Analysis in Multimedia (AAM), 2013. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{saari2013icme,\n\tauthor = {Saari, P. and Barthet, M. and Fazekas, G. and Eerola, T. and Sandler, M.},\n\tbooktitle = {IEEE International Conference on Multimedia and Expo (ICME 2013): International Workshop on Affective Analysis in Multimedia (AAM)},\n\tdate-modified = {2021-10-16 20:57:09 +0100},\n\tkeywords = {Music & emotion, Computational modelling},\n\ttitle = {Semantic Models of Mood Expressed by Music: Comparison between Crowd-sourced and Curated Editorial Annotations},\n\tyear = {2013}}\n\n

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\n \n\n \n \n Saari, P., Eerola, T., Fazekas, G., & Sandler, M.\n\n\n \n \n \n \n Using Semantic Layer Projection for Enhancing Music Mood Prediction With Audio Features.\n \n \n \n\n\n \n\n\n\n In R., B., editor(s), Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden, pages 722-728, Stockholm, Sweden, 2013. KTH Royal Institute of Technology\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{saari2013b,\n\taddress = {Stockholm, Sweden},\n\tauthor = {Saari, P. and Eerola, T. and Fazekas, G. and Sandler, M.},\n\tbooktitle = {Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden},\n\tdate-modified = {2021-10-16 17:26:17 +0100},\n\teditor = {Bresin R.},\n\tkeywords = {Music & emotion, Computational modelling},\n\torganization = {KTH Royal Institute of Technology},\n\tpages = {722-728},\n\ttitle = {Using Semantic Layer Projection for Enhancing Music Mood Prediction With Audio Features},\n\tyear = {2013}}\n\n

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\n \n\n \n \n Eerola, T., Friberg, A., & Bresin, R.\n\n\n \n \n \n \n \n Emotional Expression in Music: Contribution, Linearity, and Additivity of Primary Musical Cues.\n \n \n \n \n\n\n \n\n\n\n Frontiers in Psychology, 4(487). 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Emotional$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola_friberg_bresin_2013,\n\tauthor = {Eerola, T. and Friberg, A. and Bresin, R.},\n\tdate-modified = {2021-10-16 20:12:02 +0100},\n\tdoi = {10.3389/fpsyg.2013.00487},\n\tissn = {1664-1078},\n\tjournal = {Frontiers in Psychology},\n\tkeywords = {Music & emotion, Emotional expression},\n\tnumber = {487},\n\ttitle = {Emotional Expression in Music: Contribution, Linearity, and Additivity of Primary Musical Cues},\n\turl = {http://www.frontiersin.org/emotion_science/10.3389/fpsyg.2013.00487},\n\tvolume = {4},\n\tyear = {2013},\n\tbdsk-url-1 = {http://www.frontiersin.org/emotion_science/10.3389/fpsyg.2013.00487},\n\tbdsk-url-2 = {https://doi.org/10.3389/fpsyg.2013.00487}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Modelling Emotional Effects of Music: Key Areas of Improvement.\n \n \n \n\n\n \n\n\n\n In Bresin, R., editor(s), Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden, pages 269-276, Stockholm, Sweden, 2013. KTH Royal Institute of Technology\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2013d,\n\taddress = {Stockholm, Sweden},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden},\n\teditor = {Bresin, R.},\n\tkeywords = {Music & emotion},\n\tpages = {269-276},\n\tpublisher = {KTH Royal Institute of Technology},\n\ttitle = {Modelling Emotional Effects of Music: Key Areas of Improvement},\n\tyear = {2013}}\n\n

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\n \n\n \n \n Saari, P., Eerola, T, Fazekas, G., Barthet, M., Lartillot, O., & Sandler, M.\n\n\n \n \n \n \n The Role of Audio and Tags in Music Mood Prediction: a Study Using Semantic Layer Projection.\n \n \n \n\n\n \n\n\n\n In ISMIR Brazil, 2013. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{saari_et_al2013,\n\tauthor = {Saari, P. and Eerola, T and Fazekas, G. and Barthet, M. and Lartillot, O. and Sandler, M.},\n\tbooktitle = {ISMIR Brazil},\n\tdate-modified = {2021-10-16 20:14:30 +0100},\n\tkeywords = {Music & emotion, Computational modelling},\n\ttitle = {The Role of Audio and Tags in Music Mood Prediction: a Study Using Semantic Layer Projection},\n\tyear = {2013}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Review of Strong experiences with music: Music is much more than just music.\n \n \n \n\n\n \n\n\n\n Psychomusicology, 23(1): 49-51. 2013.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2012a,\n\tannote = {10.1037/a0030781},\n\tauthor = {Eerola, T.},\n\tjournal = {Psychomusicology},\n\tkeywords = {Theoretical/Review},\n\tnumber = {1},\n\tpages = {49-51},\n\ttitle = {Review of Strong experiences with music: Music is much more than just music},\n\tvolume = {23},\n\tyear = {2013}}\n\n

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\n \n\n \n \n Laukka, P., Eerola, T., Thingujam, N. S., Yamasaki, T., & Beller, G.\n\n\n \n \n \n \n \n Universal and Culture-Specific Factors in the Recognition and Performance of Musical Emotions.\n \n \n \n \n\n\n \n\n\n\n Emotion, 13(3): 434-449. 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Universal$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{laukka_etal_2013,\n\tauthor = {Laukka, P. and Eerola, T. and Thingujam, N. S. and Yamasaki, T. and Beller, G.},\n\tdate-modified = {2021-10-17 09:19:03 +0100},\n\tjournal = {Emotion},\n\tkeywords = {Music & emotion, Cross-cultural},\n\tnumber = {3},\n\tpages = {434-449},\n\ttitle = {Universal and Culture-Specific Factors in the Recognition and Performance of Musical Emotions},\n\turl = {https://doi.org/10.1037/a0031388},\n\tvolume = {13},\n\tyear = {2013},\n\tbdsk-url-1 = {https://doi.org/10.1037/a0031388}}\n\n

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\n \n\n \n \n Juslin, P. N., Harmat, L., & Eerola, T.\n\n\n \n \n \n \n \n What Makes Music Emotionally Significant? Exploring the Underlying Mechanisms.\n \n \n \n \n\n\n \n\n\n\n Psychology of Music, 42: 599-623. 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"What$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{juslin_etal_2013,\n\tauthor = {Juslin, P. N. and Harmat, L. and Eerola, T.},\n\tissue = {4},\n\tjournal = {Psychology of Music},\n\tkeywords = {Music & emotion},\n\tpages = {599-623},\n\ttitle = {What Makes Music Emotionally Significant? Exploring the Underlying Mechanisms},\n\turl = {https://doi.org/10.1177/0305735613484548},\n\tvolume = {42},\n\tyear = {2013},\n\tbdsk-url-1 = {https://doi.org/10.1177/0305735613484548}}\n\n

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\n \n\n \n \n Ferrer, R., Eerola, T., & Vuoskoski, J. K.\n\n\n \n \n \n \n \n Enhancing genre-based measures of music preference by user-defined liking and social tags.\n \n \n \n \n\n\n \n\n\n\n Psychology of Music, 41(4): 499-518. 2013.\n \n\n\n\n
\n\n\n\n \n \n $\"Enhancing$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{ferrer_et_al_2012,\n\tauthor = {Ferrer, R. and Eerola, T. and Vuoskoski, J. K.},\n\tdoi = {10.1177/0305735612440611},\n\tjournal = {Psychology of Music},\n\tkeywords = {Genre},\n\tmethod = {DOI: 10.1177/0305735612440611},\n\tnumber = {4},\n\tpages = {499-518},\n\ttitle = {Enhancing genre-based measures of music preference by user-defined liking and social tags},\n\turl = {https://doi.org/10.1177/0305735612440611},\n\tvolume = {41},\n\tyear = {2013},\n\tbdsk-url-1 = {https://doi.org/10.1177/0305735612440611}}\n\n

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\n \n 2012\n \n \n (10)\n \n \n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Finnish Centre of Excellence in Interdisciplinary Music Research.\n \n \n \n\n\n \n\n\n\n Psychomusicology: Music, Mind, and Brain, 22(2): 180-182. 2012.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2013a,\n\tauthor = {Eerola, T.},\n\tjournal = {Psychomusicology: Music, Mind, and Brain},\n\tkeywords = {Theoretical/Review},\n\tnumber = {2},\n\tpages = {180-182},\n\ttitle = {Finnish Centre of Excellence in Interdisciplinary Music Research},\n\tvolume = {22},\n\tyear = {2012}}\n\n

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\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n Empathy contributes to the intensity of music-induced emotions.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10), pages 1112-1113, 2012. European Society for Cognitive Sciences of Music\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{vuoskoskieerola2012,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tbooktitle = {Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10)},\n\tdate-modified = {2021-10-16 20:11:25 +0100},\n\tkeywords = {Music & emotion, Individual differences},\n\tpages = {1112-1113},\n\tpublisher = {European Society for Cognitive Sciences of Music},\n\ttitle = {Empathy contributes to the intensity of music-induced emotions},\n\tyear = {2012}}\n\n

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\n \n\n \n \n Eerola, T., & Punkanen, M.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Volume Psychology of Sadness . King of Sorrow - Perception and experience of sadness in music, pages 31-52. Nova, New York, US, 2012.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inbook{eerola_punkanen2012,\n\taddress = {New York, US},\n\tauthor = {Eerola, T. and Punkanen, M.},\n\tbooktitle = {King of Sorrow - Perception and experience of sadness in music},\n\tkeywords = {Music & emotion, Sadness},\n\tpages = {31-52},\n\tpublisher = {Nova},\n\ttitle = {King of Sorrow - Perception and experience of sadness in music},\n\tvolume = {Psychology of Sadness},\n\tyear = {2012}}\n\n

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\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n \n Can sad music really make you sad? Indirect measures of affective states induced by music and autobiographical memories.\n \n \n \n \n\n\n \n\n\n\n Psychology of Aesthetics, Creativity, and the Arts, 6(3): 204-213. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"Can$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{vuoskoski_eerola2011c,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tjournal = {Psychology of Aesthetics, Creativity, and the Arts},\n\tkeywords = {Music & emotion, Sadness},\n\tnumber = {3},\n\tpages = {204-213},\n\ttitle = {Can sad music really make you sad? Indirect measures of affective states induced by music and autobiographical memories},\n\turl = {https://doi.org/10.1037/a0026937},\n\tvolume = {6},\n\tyear = {2012},\n\tbdsk-url-1 = {https://doi.org/10.1037/a0026937}}\n\n

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\n \n\n \n \n Tuuri, K., & Eerola, T.\n\n\n \n \n \n \n \n Formulating a Revised Taxonomy for Modes of Listening.\n \n \n \n \n\n\n \n\n\n\n Journal of New Music Research, 41(2): 137-152. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"Formulating$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{tuuri_et_eerola2012,\n\tabstract = {Listening to sounds or music is not a homogeneous act of grasping meanings by hearing. Yet it is often portrayed as such, especially when the intentional stance of a listener is overlooked. This paper distinguishes listening as the action-oriented intentional activity of making sense of the world. It is proposed that the multifaceted and heterogeneous nature of `understanding by listening' can be outlined in terms of distinct modes of listening. Building upon previous accounts, a revised taxonomy of nine listening modes (reflexive, kinaesthetic, connotative, causal, empathetic, functional, semantic, reduced and critical listening) is proposed and illustrated by examples. Modes refer to different constituents of meaning-creation in the process of listening. In the taxonomy, they are schematically arranged into three levels (experiential, denotative and reflective). The theoretical framework of this revised taxonomy utilizes an embodied cognition paradigm. The experiential basis of meaning in listening is theoretically conceived of as emerging resonances between experiential patterns of sensations, structured patterns of recurrent sensorimotor experiences (action--sound couplings) and the projection of action-relevant mental images. The proposed taxonomy of listening modes is discussed in terms of its implications for perception and cognition research on sounds and music. },\n\tauthor = {Tuuri, K. and Eerola, T.},\n\tjournal = {Journal of New Music Research},\n\tkeywords = {Theoretical/Review},\n\tmethod = {http://dx.doi.org/10.1080/09298215.2011.614951},\n\tnumber = {2},\n\tpages = {137-152},\n\ttitle = {Formulating a Revised Taxonomy for Modes of Listening},\n\turl = {https://doi.org/10.1080/09298215.2011.614951},\n\tvolume = {41},\n\tyear = {2012},\n\tbdsk-url-1 = {https://doi.org/10.1080/09298215.2011.614951}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n \n Modeling Listeners' Emotional Response to Music.\n \n \n \n \n\n\n \n\n\n\n Topics in Cognitive Science, 4(4): 607-624. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"Modeling$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola2012c,\n\tauthor = {Eerola, T.},\n\tdoi = {10.1111/j.1756-8765.2012.01188.x},\n\tjournal = {Topics in Cognitive Science},\n\tkeywords = {Music & emotion, Computational modelling},\n\tnumber = {4},\n\tpages = {607-624},\n\ttitle = {Modeling Listeners' Emotional Response to Music},\n\turl = {https://doi.org/10.1111/j.1756-8765.2012.01188.x},\n\tvolume = {4},\n\tyear = {2012},\n\tbdsk-url-1 = {https://doi.org/10.1111/j.1756-8765.2012.01188.x}}\n\n

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\n \n\n \n \n Vuoskoski, J. K., Thompson, B., McIlwain, D., & Eerola, T.\n\n\n \n \n \n \n \n Who enjoys listening to sad music and why?.\n \n \n \n \n\n\n \n\n\n\n Music Perception, 29(3): 311-317. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"Who$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@article{vuoskoski_et_al_2012,\n\tauthor = {Vuoskoski, J. K. and Thompson, B. and McIlwain, D. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:55:48 +0100},\n\tdoi = {10.1525/mp.2012.29.3.311},\n\tjournal = {Music Perception},\n\tkeywords = {Music & emotion, Sadness, Individual differences},\n\tnumber = {3},\n\tpages = {311-317},\n\ttitle = {Who enjoys listening to sad music and why?},\n\turl = {https://doi.org/10.1525/mp.2012.29.3.311},\n\tvolume = {29},\n\tyear = {2012},\n\tbdsk-url-1 = {https://doi.org/10.1525/mp.2012.29.3.311}}\n\n

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\n \n\n \n \n Eerola, T., Ferrer, R., & Alluri, V.\n\n\n \n \n \n \n \n Timbre and affect dimensions: Evidence from affect and similarity ratings and acoustic correlates of isolated instrument sounds.\n \n \n \n \n\n\n \n\n\n\n Music Perception, 30(1): 49-70. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"Timbre$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2010,\n\tauthor = {Eerola, T. and Ferrer, R. and Alluri, V.},\n\tdoi = {10.1525/mp.2012.30.1.49},\n\tjournal = {Music Perception},\n\tkeywords = {Timbre},\n\tnumber = {1},\n\tpages = {49-70},\n\ttitle = {Timbre and affect dimensions: Evidence from affect and similarity ratings and acoustic correlates of isolated instrument sounds},\n\turl = {https://doi.org/10.1525/mp.2012.30.1.49},\n\tvolume = {30},\n\tyear = {2012},\n\tbdsk-url-1 = {https://doi.org/10.1525/mp.2012.30.1.49}}\n\n

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\n \n\n \n \n Aho, M., & Eerola, T.\n\n\n \n \n \n \n Expressive Performance cues in Gypsy Swing Guitar Style.\n \n \n \n\n\n \n\n\n\n Journal of Interdisciplinary Studies of Music. 2012.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{aho2010,\n\tauthor = {Aho, M. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:52:32 +0100},\n\tjournal = {Journal of Interdisciplinary Studies of Music},\n\tkeywords = {Music & emotion, Emotional expression},\n\ttitle = {Expressive Performance cues in Gypsy Swing Guitar Style},\n\tyear = {2012}}\n\n

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\n \n\n \n \n Eerola, T., & Vuoskoski, J. K.\n\n\n \n \n \n \n \n A review of music and emotion studies: Approaches, emotion models and stimuli.\n \n \n \n \n\n\n \n\n\n\n Music Perception, 30(3): 307-340. 2012.\n \n\n\n\n
\n\n\n\n \n \n $\"A$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola_2012,\n\tauthor = {Eerola, T. and Vuoskoski, J. K.},\n\tdate-modified = {2021-10-16 20:53:30 +0100},\n\tdoi = {10.1525/mp.2012.30.3.307},\n\tjournal = {Music Perception},\n\tkeywords = {Music & emotion, Theoretical/Review},\n\tnumber = {3},\n\tpages = {307-340},\n\ttitle = {A review of music and emotion studies: Approaches, emotion models and stimuli},\n\turl = {https://doi.org/10.1525/mp.2012.30.3.307},\n\tvolume = {30},\n\tyear = {2012},\n\tbdsk-url-1 = {https://doi.org/10.1525/mp.2012.30.3.307}}\n\n

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\n \n 2011\n \n \n (14)\n \n \n

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\n \n\n \n \n Ferrer, R., & Eerola, T.\n\n\n \n \n \n \n \n Semantic Structures of Timbre Emerging From Social and Acoustic Descriptions of Music.\n \n \n \n \n\n\n \n\n\n\n Journal on Audio, Speech, and Music Processing, 11. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Semantic$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{ferrer2011c,\n\tauthor = {Ferrer, R. and Eerola, T.},\n\tjournal = {Journal on Audio, Speech, and Music Processing},\n\tkeywords = {Timbre},\n\ttitle = {Semantic Structures of Timbre Emerging From Social and Acoustic Descriptions of Music},\n\turl = {https://doi.org/10.1186/1687-4722-2011-11},\n\tvolume = {11},\n\tyear = {2011},\n\tbdsk-url-1 = {https://doi.org/10.1186/1687-4722-2011-11}}\n\n

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\n \n\n \n \n Tuuri, K., Eerola, T., & Pirhonen, A.\n\n\n \n \n \n \n \n Design and evaluation of prosody-based non-speech audio feedback for physical training application.\n \n \n \n \n\n\n \n\n\n\n International Journal of Human-Computer Studies, 69: 741-757. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Design$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{tuuri2011,\n\tauthor = {Tuuri, K. and Eerola, T. and Pirhonen, A.},\n\tdoi = {10.1016/j.ijhcs.2011.06.004},\n\tissn = {1071-5819},\n\tjournal = {International Journal of Human-Computer Studies},\n\tkeywords = {Prosody},\n\tpages = {741-757},\n\ttitle = {Design and evaluation of prosody-based non-speech audio feedback for physical training application},\n\turl = {http://www.sciencedirect.com/science/article/pii/S1071581911000760},\n\tvolume = {69},\n\tyear = {2011},\n\tbdsk-url-1 = {http://www.sciencedirect.com/science/article/pii/S1071581911000760},\n\tbdsk-url-2 = {https://doi.org/10.1016/j.ijhcs.2011.06.004}}\n\n

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\n \n\n \n \n Ferrer, R., & Eerola, T.\n\n\n \n \n \n \n Looking Beyond Genres: Identifying Meaningful Semantic Layers from Tags in Online Music Collections.\n \n \n \n\n\n \n\n\n\n In Machine Learning and Applications and Workshops (ICMLA), 2011 10th International Conference on, volume 2, pages 112-117, California, US, 2011. IEEE, IEEE Computer Society\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{ferrer2011b,\n\taddress = {California, US},\n\tauthor = {Ferrer, R. and Eerola, T.},\n\tbooktitle = {Machine Learning and Applications and Workshops (ICMLA), 2011 10th International Conference on},\n\tdate-modified = {2021-10-16 17:24:46 +0100},\n\tkeywords = {Genre, Music preferences},\n\torganization = {IEEE},\n\tpages = {112-117},\n\tpublisher = {IEEE Computer Society},\n\ttitle = {Looking Beyond Genres: Identifying Meaningful Semantic Layers from Tags in Online Music Collections},\n\tvolume = {2},\n\tyear = {2011}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Tieteen popularisointia vai populismia?.\n \n \n \n\n\n \n\n\n\n Keskisuomalainen, 9.3.2011. 2011.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2011KSML,\n\tauthor = {Eerola, T.},\n\tdate-modified = {2021-10-16 17:25:12 +0100},\n\tjournal = {Keskisuomalainen},\n\tkeywords = {Textbook},\n\ttitle = {Tieteen popularisointia vai populismia?},\n\tvolume = {9.3.2011},\n\tyear = {2011}}\n\n

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\n \n\n \n \n Ferrer, R., & Eerola, T.\n\n\n \n \n \n \n AMP: Artist-based Musical Preferences Derived from Free Verbal Responses and Social Tags.\n \n \n \n\n\n \n\n\n\n In Proceedings of the IEEE International Conference on Multimedia and Expo (ICME 2011), pages 1-6, Barcelona, Spain, 2011. 10.1109/ICME.2011.6012144\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{ferrer2011AMP,\n\taddress = {Barcelona, Spain},\n\tauthor = {Ferrer, R. and Eerola, T.},\n\tbooktitle = {Proceedings of the IEEE International Conference on Multimedia and Expo (ICME 2011)},\n\tkeywords = {Music preferences},\n\torganization = {10.1109/ICME.2011.6012144},\n\tpages = {1-6},\n\ttitle = {AMP: Artist-based Musical Preferences Derived from Free Verbal Responses and Social Tags},\n\tyear = {2011}}\n\n

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\n \n\n \n \n Lamont, A., & Eerola, T.\n\n\n \n \n \n \n Music and emotion: Themes and development.\n \n \n \n\n\n \n\n\n\n Musicae Scientiae, 15(2): 1-7. 2011.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lamont_eerola2011,\n\tauthor = {Lamont, A. and Eerola, T.},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Music & emotion},\n\tnumber = {2},\n\tpages = {1-7},\n\ttitle = {Music and emotion: Themes and development},\n\tvolume = {15},\n\tyear = {2011}}\n\n

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\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n \n Measuring music-induced emotion: A comparison of emotion models, personality biases, and intensity of experiences.\n \n \n \n \n\n\n \n\n\n\n Musicae Scientiae, 15(2): 159-173. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Measuring$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{vuoskoski2011b,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:10:51 +0100},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Music & emotion, Individual differences},\n\tnumber = {2},\n\tpages = {159-173},\n\ttitle = {Measuring music-induced emotion: A comparison of emotion models, personality biases, and intensity of experiences},\n\turl = {https://doi.org/10.1177/1029864911403367},\n\tvolume = {15},\n\tyear = {2011},\n\tbdsk-url-1 = {https://doi.org/10.1177/1029864911403367}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n \n Are the emotions expressed in music genre-specific? An audio-based evaluation of datasets spanning classical, film, pop and mixed genres.\n \n \n \n \n\n\n \n\n\n\n Journal of New Music Research, 40(4): 349-366. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Are$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola2011c,\n\tauthor = {Eerola, T.},\n\tjournal = {Journal of New Music Research},\n\tkeywords = {Music & emotion, Computational modelling},\n\tnumber = {4},\n\tpages = {349-366},\n\ttitle = {Are the emotions expressed in music genre-specific? An audio-based evaluation of datasets spanning classical, film, pop and mixed genres},\n\turl = {https://doi.org/10.1080/09298215.2011.602195},\n\tvolume = {40},\n\tyear = {2011},\n\tbdsk-url-1 = {https://doi.org/10.1080/09298215.2011.602195}}\n\n

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\n \n\n \n \n Abeßer, J., Lartillot, O., Dittmar, C., Eerola, T., & Schuller, G.\n\n\n \n \n \n \n Modeling Musical Attributes to Characterize Ensemble Recordings Using Rhythmic Audio Features.\n \n \n \n\n\n \n\n\n\n In Acoustics, Speech and Signal Processing (ICASSP), 2011 IEEE International Conference on, pages 189-192, Prague, 2011. 10.1109/ICASSP.2011.5946372, Fraunhofer IDMT, Ilmenau, Germany\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{abener2011,\n\taddress = {Prague},\n\tauthor = {Abe{\\ss}er, J. and Lartillot, O. and Dittmar, C. and Eerola, T. and Schuller, G.},\n\tbooktitle = {Acoustics, Speech and Signal Processing (ICASSP), 2011 IEEE International Conference on},\n\tjournal = {ICASSP 2011},\n\tkeywords = {Computational modelling},\n\torganization = {10.1109/ICASSP.2011.5946372},\n\tpages = {189-192},\n\tpublisher = {Fraunhofer IDMT, Ilmenau, Germany},\n\ttitle = {Modeling Musical Attributes to Characterize Ensemble Recordings Using Rhythmic Audio Features},\n\tyear = {2011}}\n\n

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\n\n\n\n

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\n \n\n \n \n Punkanen, M., Eerola, T., & Erkkilä, J.\n\n\n \n \n \n \n \n Biased emotional preferences in depression: Decreased liking of angry and energetic music by depressed patients.\n \n \n \n \n\n\n \n\n\n\n Music and Medicine, 3(2): 114-120. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Biased$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{punkanen_2011,\n\tauthor = {Punkanen, M. and Eerola, T. and Erkkil{\\"a}, J.},\n\tdoi = {10.47513/mmd.v3i2.250},\n\tjournal = {Music and Medicine},\n\tkeywords = {Music & emotion, Music therapy},\n\tnumber = {2},\n\tpages = {114-120},\n\ttitle = {Biased emotional preferences in depression: Decreased liking of angry and energetic music by depressed patients},\n\turl = {https://doi.org/10.47513/mmd.v3i2.250},\n\tvolume = {3},\n\tyear = {2011},\n\tbdsk-url-1 = {https://doi.org/10.47513/mmd.v3i2.250}}\n\n

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\n \n\n \n \n Saari, P., Eerola, T., & Lartillot, O.\n\n\n \n \n \n \n \n Generalizability and Simplicity as Criteria in Feature Selection: Application to Mood Classification in Music.\n \n \n \n \n\n\n \n\n\n\n IEEE Transactions on Audio, Speech, and Language Processing, 19(6): 1802-1812. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Generalizability$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{saari2010,\n\tauthor = {Saari, P. and Eerola, T. and Lartillot, O.},\n\tdoi = {10.1109/TASL.2010.2101596},\n\tjournal = {IEEE Transactions on Audio, Speech, and Language Processing},\n\tkeywords = {Music & emotion, Computational modelling},\n\tnumber = {6},\n\tpages = {1802-1812},\n\ttitle = {Generalizability and Simplicity as Criteria in Feature Selection: Application to Mood Classification in Music},\n\turl = {https://ieeexplore.ieee.org/document/5676183},\n\tvolume = {19},\n\tyear = {2011},\n\tbdsk-url-1 = {https://ieeexplore.ieee.org/document/5676183},\n\tbdsk-url-2 = {https://doi.org/10.1109/TASL.2010.2101596}}\n\n

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\n\n\n\n

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\n \n\n \n \n Punkanen, M., Eerola, T., & Erkkilä, J.\n\n\n \n \n \n \n \n Biased emotional recognition in depression: Perception of emotions in music by depressed patients.\n \n \n \n \n\n\n \n\n\n\n Journal of Affective Disorders, 130: 118-126. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"Biased$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{punkanen2010,\n\tauthor = {Punkanen, M. and Eerola, T. and Erkkil{\\"a}, J.},\n\tdoi = {10.1016/j.jad.2010.10.034},\n\tjournal = {Journal of Affective Disorders},\n\tkeywords = {Music & emotion, Music therapy},\n\tpages = {118-126},\n\ttitle = {Biased emotional recognition in depression: Perception of emotions in music by depressed patients},\n\turl = {https://doi.org/10.1016/j.jad.2010.10.034},\n\tvolume = {130},\n\tyear = {2011},\n\tbdsk-url-1 = {https://doi.org/10.1016/j.jad.2010.10.034}}\n\n

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\n\n\n\n

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\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n \n The role of mood and personality in the perception of emotions represented by music.\n \n \n \n \n\n\n \n\n\n\n Cortex, 47(9): 1099-1106. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{vuoskoski2010,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tdoi = {https://doi.org/10.1016/j.cortex.2011.04.011},\n\tjournal = {Cortex},\n\tkeywords = {Music & emotion, Individual differences},\n\tnumber = {9},\n\tpages = {1099-1106},\n\ttitle = {The role of mood and personality in the perception of emotions represented by music},\n\turl = {https://www.sciencedirect.com/science/article/pii/S0010945211001067},\n\tvolume = {47},\n\tyear = {2011},\n\tbdsk-url-1 = {https://www.sciencedirect.com/science/article/pii/S0010945211001067},\n\tbdsk-url-2 = {https://doi.org/10.1016/j.cortex.2011.04.011}}\n\n

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\n \n\n \n \n Eerola, T., & Vuoskoski, J. K.\n\n\n \n \n \n \n \n A comparison of the discrete and dimensional models of emotion in music.\n \n \n \n \n\n\n \n\n\n\n Psychology of Music, 39(1): 18-49. 2011.\n \n\n\n\n
\n\n\n\n \n \n $\"A$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola_vuoskoski2009,\n\tauthor = {Eerola, T. and Vuoskoski, J. K.},\n\tdate-modified = {2021-10-16 17:23:41 +0100},\n\tdoi = {10.1177/0305735610362821},\n\tjournal = {Psychology of Music},\n\tkeywords = {Music & emotion},\n\tnumber = {1},\n\tpages = {18-49},\n\ttitle = {A comparison of the discrete and dimensional models of emotion in music},\n\turl = {https://journals.sagepub.com/doi/10.1177/0305735610362821},\n\tvolume = {39},\n\tyear = {2011},\n\tbdsk-url-1 = {https://journals.sagepub.com/doi/10.1177/0305735610362821},\n\tbdsk-url-2 = {https://doi.org/10.1177/0305735610362821}}\n\n

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\n \n 2010\n \n \n (12)\n \n \n

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\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n Domain-Specific or Not? The Applicability of Different Emotion Models in the Assessment of Music-Induced Emotions.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10), pages 196-199, 2010. University of Washington, US\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{vuoskoski2010B,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tbooktitle = {Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10)},\n\tkeywords = {Music & emotion},\n\tpages = {196-199},\n\tpublisher = {University of Washington, US},\n\ttitle = {Domain-Specific or Not? The Applicability of Different Emotion Models in the Assessment of Music-Induced Emotions},\n\tyear = {2010}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Musiikki ja kuluttajakäyttäytyminen, pages 327-339. Louhivuori, J., & Saarikallio, S., editor(s). Atena Kustannus, Helsinki, Finland, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{Eerola2009MP4,\n\taddress = {Helsinki, Finland},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Musiikkipsykologia},\n\teditor = {Louhivuori, J. and Saarikallio, S.},\n\tkeywords = {Textbook},\n\tpages = {327-339},\n\tpublisher = {Atena Kustannus},\n\ttitle = {Musiikki ja kuluttajak{\\"a}ytt{\\"a}ytyminen},\n\tyear = {2010}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Evoluutiopsykologia ja musiikki, pages 343-353. Louhivuori, J., & Saarikallio, S., editor(s). Atena Kustannus, Jyväskylä, Finland, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola2009mp3,\n\taddress = {Jyv{\\"a}skyl{\\"a}, Finland},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Musiikkipsykologia},\n\teditor = {Louhivuori, J. and Saarikallio, S.},\n\tkeywords = {Textbook},\n\tpages = {343-353},\n\tpublisher = {Atena Kustannus},\n\ttitle = {Evoluutiopsykologia ja musiikki},\n\tyear = {2010}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Musiikkipsykologian historia, pages 13-30. Louhivuori, J., & Saarikallio, S., editor(s). Atena Kustannus, Jyväskylä, Finland, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola2009mp2,\n\taddress = {Jyv{\\"a}skyl{\\"a}, Finland},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Musiikkipsykologia},\n\teditor = {Louhivuori, J. and Saarikallio, S.},\n\tkeywords = {Textbook},\n\tpages = {13-30},\n\tpublisher = {Atena Kustannus},\n\ttitle = {Musiikkipsykologian historia},\n\tyear = {2010}}\n\n

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\n\n\n

\n \n\n \n \n Eerola, T., & Saarikallio, S.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Musiikki ja tunteet, pages 259-278. Louhivuori, J., & Saarikallio, S., editor(s). Atena Kustannus, Jyväskylä, Finland, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola2009mp1,\n\taddress = {Jyv{\\"a}skyl{\\"a}, Finland},\n\tauthor = {Eerola, T. and Saarikallio, S.},\n\tbooktitle = {Musiikkipsykologia},\n\teditor = {Louhivuori, J. and Saarikallio, S.},\n\tkeywords = {Textbook},\n\tpages = {259-278},\n\tpublisher = {Atena Kustannus},\n\ttitle = {Musiikki ja tunteet},\n\tyear = {2010}}\n\n

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\n \n\n \n \n Tuuri, K., Eerola, T., & Pirhonen, A.\n\n\n \n \n \n \n Leaping Across Modalities: Speed Regulation Messages in Audio and Tactile Domains.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 5th International Workshop on Haptic and Audio Interaction Design (HAID), Copenhagen, Denmark, of Lecture Notes in Computer Science, 2010. Springer\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{tuuri2010,\n\tauthor = {Tuuri, K. and Eerola, T. and Pirhonen, A.},\n\tbooktitle = {Proceedings of the 5th International Workshop on Haptic and Audio Interaction Design (HAID), Copenhagen, Denmark},\n\tkeywords = {Prosody},\n\tpublisher = {Springer},\n\tseries = {Lecture Notes in Computer Science},\n\ttitle = {Leaping Across Modalities: Speed Regulation Messages in Audio and Tactile Domains},\n\tyear = {2010}}\n\n

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\n\n\n\n

\n\n\n

\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Analysing emotions in Schubert's Erlkönig: A computational approach.\n \n \n \n\n\n \n\n\n\n Music Analysis, 29(1-3): 214-233. 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{eerola_2011MS,\n\tabstract = {http://onlinelibrary.wiley.com/doi/10.1111/musa.2010.29.issue-1-3/issuetoc},\n\tauthor = {Eerola, T.},\n\tjournal = {Music Analysis},\n\tkeywords = {Music & emotion, Computational modelling},\n\tnumber = {1-3},\n\tpages = {214-233},\n\ttitle = {Analysing emotions in Schubert's Erlk{\\"o}nig: A computational approach},\n\tvolume = {29},\n\tyear = {2010}}\n\n

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\n\n\n\n\n\n

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\n \n\n \n \n Zentner, M. R., & Eerola, T.\n\n\n \n \n \n \n \n Rhythmic engagement with music in infancy.\n \n \n \n \n\n\n \n\n\n\n PNAS, 107(13): 5768-5773. 2010.\n \n\n\n\n
\n\n\n\n \n \n $\"Rhythmic$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{zenter_eerola_2010,\n\tauthor = {Zentner, M. R. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:08:54 +0100},\n\tjournal = {PNAS},\n\tkeywords = {Entrainment, Developmental},\n\tnumber = {13},\n\tpages = {5768-5773},\n\ttitle = {Rhythmic engagement with music in infancy},\n\turl = {https://doi.org/10.1073/pnas.1000121107},\n\tvolume = {107},\n\tyear = {2010},\n\tbdsk-url-1 = {https://doi.org/10.1073/pnas.1000121107}}\n\n

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\n \n\n \n \n Ferrer, R., & Eerola, T.\n\n\n \n \n \n \n Timbral Qualities of Semantic Structures of Music.\n \n \n \n\n\n \n\n\n\n In Downie, J. S., & Veltkamp, R. C., editor(s), Proceedings of 11th International Conference on Music Information Retrieval (ISMIR 2010), pages 571-576, 2010. University of Utrecht, Netherlands\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{ferrer2010b,\n\tauthor = {Ferrer, R. and Eerola, T.},\n\tbooktitle = {Proceedings of 11th International Conference on Music Information Retrieval ({ISMIR} 2010)},\n\tdate-modified = {2021-10-16 17:20:59 +0100},\n\teditor = {Downie, J. S. and Veltkamp, R. C.},\n\tkeywords = {Timbre},\n\torganization = {University of Utrecht, Netherlands},\n\tpages = {571-576},\n\ttitle = {Timbral Qualities of Semantic Structures of Music},\n\tyear = {2010}}\n\n

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\n \n\n \n \n Zentner, M. R., & Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Self-report measures and models, pages 187-221. Juslin, P. N., & Sloboda, J. A., editor(s). Oxford University Press, Boston, MA, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inbook{zentner2010a,\n\taddress = {Boston, MA},\n\tauthor = {Zentner, Marcel R. and Eerola, T.},\n\tbooktitle = {Handbook of Music and Emotion},\n\tdate-modified = {2021-10-16 20:56:24 +0100},\n\teditor = {Juslin, P. N. and Sloboda, J. A.},\n\tkeywords = {Music & emotion, Theoretical/Review},\n\tpages = {187-221},\n\tpublisher = {Oxford University Press},\n\ttitle = {Self-report measures and models},\n\tyear = {2010}}\n\n

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\n \n\n \n \n Erkkilä, J., & Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Gambling Addiction: Evaluation of a Multimethod Treatment Programme Including Music Therapy, pages 132-151. Aldridge, D., & Fachner, J., editor(s). Jessica Kingsley, London, UK, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@inbook{erkkila_eerola2009,\n\taddress = {London, UK},\n\tauthor = {Erkkil{\\"a}, J. and Eerola, T.},\n\tbooktitle = {Music Therapy and Addictions},\n\teditor = {Aldridge, D. and Fachner, J{\\"o}rg},\n\tkeywords = {Music therapy},\n\tpages = {132-151},\n\tpublisher = {Jessica Kingsley},\n\ttitle = {Gambling Addiction: Evaluation of a Multimethod Treatment Programme Including Music Therapy},\n\tyear = {2010}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n of Methodology of Music Research. Musical taste and attitudes of a Finnish listener educated in humanities, pages 59-70. Schuler, N., & others, editor(s). Peter Lang, Hamburg, Germany, 2010.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola_2010b,\n\taddress = {Hamburg, Germany},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Musical listening habits of College students in Finland, Slovenia, South Africa, and Texas: Similarities and Differences},\n\teditor = {Schuler, N. and others},\n\tkeywords = {Music preferences},\n\tpages = {59-70},\n\tpublisher = {Peter Lang},\n\tseries = {Methodology of Music Research},\n\ttitle = {Musical taste and attitudes of a Finnish listener educated in humanities},\n\tyear = {2010}}\n\n

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\n\n\n\n

\n\n\n\n\n\n

\n

\n \n 2009\n \n \n (10)\n \n \n

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\n \n \n

\n \n\n \n \n Laurier, C., Lartillot, O., Eerola, T., & Toiviainen, P.\n\n\n \n \n \n \n Exploring relationships between audio features and emotion in music.\n \n \n \n\n\n \n\n\n\n In Louhivuori, J., Eerola, T., Saarikallio, S., Himberg, T., & Eerola, P., editor(s), Proceedings of the 7th Triennal Conference of European Society for Cognitive Sciences of Music (ESCOM 2009) Jyväskylä, Finland, pages 260-264, Jyväskylä, Finland, 2009. European Society for Cognitive Sciences of Music\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@inproceedings{laurier2009,\n\taddress = {Jyv{\\"a}skyl{\\"a}, Finland},\n\tauthor = {Laurier, C. and Lartillot, O. and Eerola, T. and Toiviainen, P.},\n\tbooktitle = {Proceedings of the 7th Triennal Conference of European Society for Cognitive Sciences of Music (ESCOM 2009) Jyv{\\"a}skyl{\\"a}, Finland},\n\teditor = {Louhivuori, J. and Eerola, T. and Saarikallio, S. and Himberg, T. and Eerola, P.-S.},\n\tkeywords = {Music & emotion, Computational modelling},\n\tpages = {260-264},\n\tpublisher = {European Society for Cognitive Sciences of Music},\n\ttitle = {Exploring relationships between audio features and emotion in music},\n\tyear = {2009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Music, Thought, and Feeling: Understanding the Psychology of Music by William Forde Thompson: A compact and inspiring resource for teaching music cognition (Book review).\n \n \n \n\n\n \n\n\n\n Musicae Scientiae, 13(2): 224-226. 2009.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{eerola2009d,\n\tauthor = {Eerola, T.},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Theoretical/Review},\n\tnumber = {2},\n\tpages = {224-226},\n\ttitle = {Music, Thought, and Feeling: Understanding the Psychology of Music by William Forde Thompson: A compact and inspiring resource for teaching music cognition (Book review)},\n\tvolume = {13},\n\tyear = {2009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Ferrer, R., Eerola, T., & Vuoskoski, J. K.\n\n\n \n \n \n \n Is preference for musical genres an adequate measure of musical taste?.\n \n \n \n\n\n \n\n\n\n In 7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyväskylä, Finland, August 12-16, 2009, 2009. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2009escom5,\n\tauthor = {Ferrer, R. and Eerola, T. and Vuoskoski, J. K.},\n\tbooktitle = {7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyv{\\"a}skyl{\\"a}, Finland, August 12-16, 2009},\n\tdate-modified = {2021-10-16 17:24:54 +0100},\n\tkeywords = {Music preferences, Genre},\n\ttitle = {Is preference for musical genres an adequate measure of musical taste?},\n\tyear = {2009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Vuoskoski, J. K., & Eerola, T.\n\n\n \n \n \n \n The role of personality in the perception and experience of music-mediated emotions.\n \n \n \n\n\n \n\n\n\n In 7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyväskylä, Finland, August 12-16, 2009, 2009. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2009escom4,\n\tauthor = {Vuoskoski, J. K. and Eerola, T.},\n\tbooktitle = {7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyv{\\"a}skyl{\\"a}, Finland, August 12-16, 2009},\n\tkeywords = {Music & emotion, Individual differences},\n\ttitle = {The role of personality in the perception and experience of music-mediated emotions},\n\tyear = {2009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Eerola, T., Friberg, A., & Bresin, R.\n\n\n \n \n \n \n The microstructure of emotional expression in music: Relative importance and range of seven musical features.\n \n \n \n\n\n \n\n\n\n In 7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyväskylä, Finland, August 12-16, 2009, 2009. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2009escom3,\n\tauthor = {Eerola, T. and Friberg, A. and Bresin, R.},\n\tbooktitle = {7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyv{\\"a}skyl{\\"a}, Finland, August 12-16, 2009},\n\tdate-modified = {2021-10-16 20:12:10 +0100},\n\tkeywords = {Music & emotion, Emotional expression},\n\ttitle = {The microstructure of emotional expression in music: Relative importance and range of seven musical features},\n\tyear = {2009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Eerola, T., & Vuoskoski, J. K.\n\n\n \n \n \n \n Music that stirs up emotions? A review of approaches, models and stimuli used in music and emotion studies.\n \n \n \n\n\n \n\n\n\n In 7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyväskylä, Finland, August 12-16, 2009, 2009. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2009escom1,\n\tauthor = {Eerola, T. and Vuoskoski, J. K.},\n\tbooktitle = {7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyv{\\"a}skyl{\\"a}, Finland, August 12-16, 2009},\n\tkeywords = {Music & emotion},\n\ttitle = {Music that stirs up emotions? A review of approaches, models and stimuli used in music and emotion studies},\n\tyear = {2009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Eerola, T., & Ferrer, R.\n\n\n \n \n \n \n Setting the Standards: Normative data on audio-based musical features for musical genres.\n \n \n \n\n\n \n\n\n\n In 7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyväskylä, Finland, August 12-16, 2009, 2009. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2009escom2,\n\tauthor = {Eerola, T. and Ferrer, R.},\n\tbooktitle = {7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyv{\\"a}skyl{\\"a}, Finland, August 12-16, 2009},\n\tkeywords = {Music & emotion},\n\ttitle = {Setting the Standards: Normative data on audio-based musical features for musical genres},\n\tyear = {2009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Fornari, J., & Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Volume 5493 of Lecture Notes in Computer Science. The Pursuit of Happiness in Music: Retrieving Valence with Contextual Music Descriptors, pages 119-133. Springer, Berlin / Heidelberg, 2009.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inbook{fornari2009,\n\tabstract = {In the study of music emotions, Valence is usually referred to as one of the dimensions of the circumplex model of emotions that describes music appraisal of happiness, whose scale goes from sad to happy. Nevertheless, related literature shows that Valence is known as being particularly difficult to be predicted by a computational model. As Valence is a contextual music feature, it is assumed here that its prediction should also require contextual music descriptors in its predicting model. This work describes the usage of eight contextual (also known as higher-level) descriptors, previously developed by us, to calculate happiness in music. Each of these descriptors was independently tested using the correlation coefficient of its prediction with the mean rating of Valence, reckoned by thirty-five listeners, over a piece of music. Following, a linear model using this eight descriptors was created and the result of its prediction, for the same piece of music, is described and compared with two other computational models from the literature, designed for the dynamic prediction of music emotion. Finally it is proposed here an initial investigation on the effects of expressive performance and musical structure on the prediction of Valence. Our descriptors are then separated in two groups: performance and structural, where, with each group, we built a linear model. The prediction of Valence given by these two models, over two other pieces of music, are here compared with the correspondent listeners' mean rating of Valence, and the achieved results are depicted, described and discussed},\n\taddress = {Berlin / Heidelberg},\n\tauthor = {Fornari, J. and Eerola, T.},\n\tbooktitle = {Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music},\n\tdoi = {0910.1007/978-3-642-02518-1},\n\tkeywords = {Music & emotion, Computational modelling},\n\tpages = {119-133},\n\tpublisher = {Springer},\n\tseries = {Lecture Notes in Computer Science},\n\ttitle = {The Pursuit of Happiness in Music: Retrieving Valence with Contextual Music Descriptors},\n\tvolume = {5493},\n\tyear = {2009},\n\tbdsk-url-1 = {https://doi.org/10.1007/978-3-642-02518-1}}\n\n

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\n \n\n \n \n Eerola, T., Lartillot, O., & Toiviainen, P.\n\n\n \n \n \n \n Prediction of Multidimensional Emotional Ratings in Music from Audio Using Multivariate Regression Models.\n \n \n \n\n\n \n\n\n\n In Hirata, K., & Tzanetakis, G., editor(s), Proceedings of 10th International Conference on Music Information Retrieval (ISMIR 2009), pages 621-626, Dagstuhl, Germany, 2009. International Society for Music Information Retrieval\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{eerola_ismir09,\n\taddress = {Dagstuhl, Germany},\n\tauthor = {Eerola, T. and Lartillot, O. and Toiviainen, P.},\n\tbooktitle = {Proceedings of 10th International Conference on Music Information Retrieval ({ISMIR} 2009)},\n\teditor = {Hirata, K. and Tzanetakis, G.},\n\tkeywords = {Music & emotion, Computational modelling},\n\tpages = {621-626},\n\tpublisher = {International Society for Music Information Retrieval},\n\ttitle = {Prediction of Multidimensional Emotional Ratings in Music from Audio Using Multivariate Regression Models},\n\tyear = {2009}}\n\n

\n

\n\n\n\n

\n\n\n

\n \n\n \n \n Eerola, T., Louhivuori, J., & Lebaka, E.\n\n\n \n \n \n \n \n Expectancy in North Sami yoiks revisited: the role of data-driven and schema-driven knowledge in the formation of melodic expectations.\n \n \n \n \n\n\n \n\n\n\n Musicae Scientiae, 13(2): 39-70. 2009.\n \n\n\n\n
\n\n\n\n \n \n $\"Expectancy$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{Eerola2009b,\n\tauthor = {Eerola, T. and Louhivuori, J. and Lebaka, E.},\n\tdate-modified = {2021-10-16 20:07:42 +0100},\n\tdoi = {https://doi.org/10.1177/102986490901300203},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Melodic expectancy},\n\tnumber = {2},\n\tpages = {39-70},\n\ttitle = {Expectancy in North Sami yoiks revisited: the role of data-driven and schema-driven knowledge in the formation of melodic expectations},\n\turl = {https://journals.sagepub.com/doi/10.1177/102986490901300203},\n\tvolume = {13},\n\tyear = {2009},\n\tbdsk-url-1 = {https://journals.sagepub.com/doi/10.1177/102986490901300203},\n\tbdsk-url-2 = {https://doi.org/10.1177/102986490901300203}}\n\n

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\n \n 2008\n \n \n (13)\n \n \n

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\n \n\n \n \n Lartillot, O., Eerola, T., Toiviainen, P., & Fornari, J.\n\n\n \n \n \n \n Multi-feature modeling of pulse clarity: Design, validation, and optimization.\n \n \n \n\n\n \n\n\n\n In ISMIR 2008 International Conference on Music Information Retrieval, pages 521-526, 2008. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{lartillot2008a,\n\tauthor = {Lartillot, O. and Eerola, T. and Toiviainen, P. and Fornari, J.},\n\tbooktitle = {ISMIR 2008 International Conference on Music Information Retrieval},\n\tkeywords = {Computational modelling},\n\tpages = {521-526},\n\ttitle = {Multi-feature modeling of pulse clarity: Design, validation, and optimization},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Lartillot, O., Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n A Matlab Toolbox for Music Information Retrieval, pages 261-268. Preisach, C., Burkhardt, H., Schmidt-Thieme, L., & Decker, R., editor(s). Springer, Berlin, Germany, 2008.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{lartillot2008d,\n\tabstract = {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. The objective is to offer a state of the art of computational approaches in the area of Music Information Retrieval (MIR). The design is based on a modular framework: the different algorithms are decomposed into stages, formalized using a minimal set of elementary mechanisms, and integrating different variants proposed by alternative approaches --- including new strategies we have developed ---, that users can select and parametrize. These functions can adapt to a large area of objects as input. This paper offers an overview of the set of features that can be extracted with MIRToolbox, illustrated with the description of three particular musical features. The toolbox also includes functions for statistical analysis, segmentation and clustering. One of our main motivations for the development of the toolbox is to facilitate investigation of the relation between musical features and music-induced emotion. Preliminary results show that the variance in emotion ratings can be explained by a small set of acoustic features.},\n\taddress = {Berlin, Germany},\n\tauthor = {Lartillot, O. and Toiviainen, P. and Eerola, T.},\n\tbooktitle = {Data Analysis, Machine Learning and Applications},\n\teditor = {Preisach, C. and Burkhardt, H. and Schmidt-Thieme, L. and Decker, R.},\n\tkeywords = {Computational modelling},\n\tpages = {261-268},\n\tpublisher = {Springer},\n\ttitle = {A Matlab Toolbox for Music Information Retrieval},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Brattico, E., Pallesen, K., Varyagina, O., Anourova, I., Järvenpää, M., Eerola, T., & Tervaniemi, M.\n\n\n \n \n \n \n Neural discrimination of non-prototypical chords in music experts and laymen - An MEG study.\n \n \n \n\n\n \n\n\n\n Journal of Cognitive Neuroscience, 21(11): 2230-2244. 2008.\n \n\n\n\n
\n\n\n\n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{brattico2008,\n\tauthor = {Brattico, E. and Pallesen, K. and Varyagina, O. and Anourova, I. and J{\\"a}rvenp{\\"a}{\\"a}, M. and Eerola, T. and Tervaniemi, M.},\n\tdate-modified = {2021-10-16 20:09:11 +0100},\n\tdoi = {10.1162/jocn.2008.21144},\n\tjournal = {Journal of Cognitive Neuroscience},\n\tkeywords = {Neuroscience, Consonance/dissonance},\n\tnumber = {11},\n\tpages = {2230-2244},\n\ttitle = {Neural discrimination of non-prototypical chords in music experts and laymen - An MEG study},\n\tvolume = {21},\n\tyear = {2008},\n\tbdsk-url-1 = {https://doi.org/10.1162/jocn.2008.21144}}\n\n

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\n \n\n \n \n Lartillot, O., Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n Commentary on 'Comparative Analysis of Music Recordings from Western and Non-Western Traditions by Automatic Tonal Feature Extraction' by Emilia Gómez, and Perfecto Herrera.\n \n \n \n\n\n \n\n\n\n Empirical Musicology Review, 3(3): 157-160. 2008.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{lartillot2008c,\n\tauthor = {Lartillot, O. and Toiviainen, P. and Eerola, T.},\n\tjournal = {Empirical Musicology Review},\n\tkeywords = {Theoretical/Review},\n\tnumber = {3},\n\tpages = {157-160},\n\ttitle = {Commentary on 'Comparative Analysis of Music Recordings from Western and Non-Western Traditions by Automatic Tonal Feature Extraction' by Emilia G{\\'o}mez, and Perfecto Herrera},\n\tvolume = {3},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Mapping Musical Features to Perceived Emotions Using Partial Least Squares Regression.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10), pages 721-726, Sapporo, Japan, 2008. University of Hokkaido\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2008d,\n\taddress = {Sapporo, Japan},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10)},\n\tdate-modified = {2021-10-16 20:12:38 +0100},\n\teditors = {Miyazaki, K. and Hiraga, Y. and Adachi, M. and Nakajima, Y. and Tsuzaki, M.},\n\tkeywords = {Music & emotion, Emotional expression},\n\tpages = {721-726},\n\tpublisher = {University of Hokkaido},\n\ttitle = {Mapping Musical Features to Perceived Emotions Using Partial Least Squares Regression},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Eerola, T., Alluri, V., & Ferrer, R.\n\n\n \n \n \n \n Emotional Connotations of Isolated Instruments Sounds.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10), pages 483-489, Sapporo, Japan, 2008. University of Hokkaido\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2008c,\n\taddress = {Sapporo, Japan},\n\tauthor = {Eerola, T. and Alluri, V. and Ferrer, R.},\n\tbooktitle = {Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10)},\n\teditors = {Miyazaki, K. and Hiraga, Y. and Adachi, M. and Nakajima, Y. and Tsuzaki, M.},\n\tkeywords = {Music & emotion, Timbre},\n\tpages = {483-489},\n\tpublisher = {University of Hokkaido},\n\ttitle = {Emotional Connotations of Isolated Instruments Sounds},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Lartillot, O., Eerola, T., Toiviainen, P., Fornari, J. L., Eerola, T., Toiviainen, P., & Fornari, J.\n\n\n \n \n \n \n Multi-Feature Modeling of Pulse Clarity from Audio.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10), pages 531-539, 2008. University of Hokkaido\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{lartillot2008b,\n\tauthor = {Lartillot, O. and Eerola, T. and Toiviainen, P. and Fornari, J. Lartillot, O. and Eerola, T. and Toiviainen, P. and Fornari, J.},\n\tbooktitle = {Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10)},\n\teditors = {Miyazaki, K. and Hiraga, Y. and Adachi, M. and Nakajima, Y. and Tsuzaki, M.},\n\tkeywords = {Computational modelling},\n\tpages = {531-539},\n\tpublisher = {University of Hokkaido},\n\ttitle = {Multi-Feature Modeling of Pulse Clarity from Audio},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Fornari, J., & Eerola, T.\n\n\n \n \n \n \n Estimating the Perception of Complexity in Musical Harmony.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10), pages 254-257, 2008. University of Hokkaido\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{fornari2008,\n\tauthor = {Fornari, J. and Eerola, T.},\n\tbooktitle = {Proceedings of the 10th International Conference on Music Perception and Cognition (ICMPC10)},\n\tdate-modified = {2021-10-16 20:50:11 +0100},\n\teditors = {Miyazaki, K. and Hiraga, Y. and Adachi, M. and Nakajima, Y. and Tsuzaki, M.},\n\tkeywords = {Computational modelling, Complexity, Consonance/dissonance},\n\tpages = {254-257},\n\tpublisher = {University of Hokkaido},\n\ttitle = {Estimating the Perception of Complexity in Musical Harmony},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Fornari, J., & Eerola, T.\n\n\n \n \n \n \n Predicting Emotional Prosody of Music with High-Level Acoustic Features.\n \n \n \n\n\n \n\n\n\n In EMUS - Expressivity in MUsic and Speech, IRCAM, 2008. IRCAM\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{fornari2008b,\n\taddress = {IRCAM},\n\tauthor = {Fornari, J. and Eerola, T.},\n\tbooktitle = {EMUS - Expressivity in MUsic and Speech},\n\tkeywords = {Music & emotion},\n\tpublisher = {IRCAM},\n\ttitle = {Predicting Emotional Prosody of Music with High-Level Acoustic Features},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Lartillot, O., Eerola, T., Toiviainen, P., & Fornari, J.\n\n\n \n \n \n \n Multi-Feature Modeling of Pulse Clarity: Design, Validation, and Optimisation.\n \n \n \n\n\n \n\n\n\n In International Conference on Digital Audio Effects (DAFx-08), Espoo, Finland, September 1-4, 2008, pages 305-308, 2008. \n \n\n\n\n
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@inproceedings{lartillot2008f,\n\tauthor = {Lartillot, O. and Eerola, T. and Toiviainen, P. and Fornari, J.},\n\tbooktitle = {International Conference on Digital Audio Effects (DAFx-08), Espoo, Finland, September 1-4, 2008},\n\tkeywords = {Computational modelling},\n\tpages = {305-308},\n\ttitle = {Multi-Feature Modeling of Pulse Clarity: Design, Validation, and Optimisation},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Tuuri, K., & Eerola, T.\n\n\n \n \n \n \n Identifying Function-Specific Prosodic Cues for the Needs of Non-Speech User Interface Sound Design.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 11th International Conference on Digital Audio Effects (DAFx-08), Espoo, Finland, September 1-4, 2008, 2008. \n \n\n\n\n
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@inproceedings{tuuri2008a,\n\tauthor = {Tuuri, K. and Eerola, T.},\n\tbooktitle = {Proceedings of the 11th International Conference on Digital Audio Effects (DAFx-08), Espoo, Finland, September 1-4, 2008},\n\tkeywords = {Prosody},\n\ttitle = {Identifying Function-Specific Prosodic Cues for the Needs of Non-Speech User Interface Sound Design},\n\tyear = {2008}}\n\n

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\n \n\n \n \n Tuuri, K., & Eerola, T.\n\n\n \n \n \n \n \n Could Function-Specific Prosodic Cues be Used as a Basis for Non-Speech User Interface Sound Design?.\n \n \n \n \n\n\n \n\n\n\n In Susini, P., & Warusfel, O., editor(s), Proceedings of the 14th International Conference on Auditory Display, 2008. IRCAM (Institut de Recherche et Coordination Acoustique/Musique)\n \n\n\n\n
\n\n\n\n \n \n $\"Could$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{tuuri2008b,\n\tauthor = {Tuuri, K. and Eerola, T.},\n\tbooktitle = {Proceedings of the 14th International Conference on Auditory Display},\n\teditor = {Susini, P. and Warusfel, O.},\n\tkeywords = {Prosody},\n\tpublisher = {IRCAM (Institut de Recherche et Coordination Acoustique/Musique)},\n\ttitle = {Could Function-Specific Prosodic Cues be Used as a Basis for Non-Speech User Interface Sound Design?},\n\turl = {http://icad08.ircam.fr/proceed/Presentation/O_08.pdf},\n\tyear = {2008},\n\tbdsk-url-1 = {http://icad08.ircam.fr/proceed/Presentation/O_08.pdf}}\n\n

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\n \n\n \n \n Eerola, T., & Ferrer, R.\n\n\n \n \n \n \n \n Instrument Library (MUMS) Revised.\n \n \n \n \n\n\n \n\n\n\n Music Perception, 25(3): 253-255. 2008.\n \n\n\n\n
\n\n\n\n \n \n $\"Instrument$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2008,\n\tauthor = {Eerola, T. and Ferrer, R.},\n\tdoi = {10.1525/mp.2008.25.3.253},\n\teprint = {http://caliber.ucpress.net/doi/pdf/10.1525/mp.2008.25.3.253},\n\tjournal = {Music Perception},\n\tkeywords = {Timbre},\n\tnumber = {3},\n\tpages = {253-255},\n\ttitle = {Instrument Library (MUMS) Revised},\n\turl = {http://caliber.ucpress.net/doi/abs/10.1525/mp.2008.25.3.253},\n\tvolume = {25},\n\tyear = {2008},\n\tbdsk-url-1 = {http://caliber.ucpress.net/doi/abs/10.1525/mp.2008.25.3.253},\n\tbdsk-url-2 = {https://doi.org/10.1525/mp.2008.25.3.253}}\n\n

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\n \n 2007\n \n \n (3)\n \n \n

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\n \n\n \n \n Toiviainen, P., Erkkilä, J., T., E., G., L., & Lartillot, O.\n\n\n \n \n \n \n Music cognition research amidst the boreal forest.\n \n \n \n\n\n \n\n\n\n Cognitive Processing, 8: 57-62. 2007.\n \n\n\n\n
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@article{toiviainen2007b,\n\tauthor = {Toiviainen, P. and Erkkil{\\"a}, J. and T., Eerola and G., Luck and Lartillot, O.},\n\tissue = {1},\n\tjournal = {Cognitive Processing},\n\tkeywords = {Theoretical/Review},\n\tpages = {57-62},\n\ttitle = {Music cognition research amidst the boreal forest},\n\tvolume = {8},\n\tyear = {2007}}\n\n

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\n \n\n \n \n Eerola, T., & Bregman, M.\n\n\n \n \n \n \n \n Melodic and contextual similarity of folk song phrases.\n \n \n \n \n\n\n \n\n\n\n Musicae Scientiae, Discussion Forum 4A-2007: 211-233. 2007.\n \n\n\n\n
\n\n\n\n \n \n $\"Melodic$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2007,\n\tauthor = {Eerola, T. and Bregman, M.},\n\tjournal = {Musicae Scientiae},\n\tkeywords = {Musical similarity},\n\tpages = {211-233},\n\ttitle = {Melodic and contextual similarity of folk song phrases},\n\turl = {https://doi.org/10.1177/102986490701100109},\n\tvolume = {Discussion Forum 4A-2007},\n\tyear = {2007},\n\tbdsk-url-1 = {https://doi.org/10.1177/102986490701100109}}\n\n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Musiikki, tiede, kognitio ja teknologia – moderni musiikintutkimuksen paradigma, pages 105-119. Hanka, H., Ylönen, I., & Tynkkynen, M., editor(s). University of Jyväskylä, Jyväskylä, Finland, 2007.\n \n\n\n\n
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@inbook{toiviainen2007,\n\taddress = {Jyv{\\"a}skyl{\\"a}, Finland},\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tbooktitle = {Humanistista kirjoa},\n\teditor = {Hanka, H. and Yl{\\"o}nen, I. and Tynkkynen, M.-L.},\n\tkeywords = {Textbook},\n\tpages = {105-119},\n\tpublisher = {University of Jyv{\\"a}skyl{\\"a}},\n\ttitle = {Musiikki, tiede, kognitio ja teknologia -- moderni musiikintutkimuksen paradigma},\n\tyear = {2007}}\n\n

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\n \n 2006\n \n \n (6)\n \n \n

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\n \n\n \n \n Eerola, T., Himberg, T., Toiviainen, P., & Louhivuori, J.\n\n\n \n \n \n \n \n Perceived complexity of Western and African folk melodies by Western and African listeners.\n \n \n \n \n\n\n \n\n\n\n Psychology of Music, 34: 341-375. 2006.\n \n\n\n\n
\n\n\n\n \n \n $\"Perceived$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@article{eerola2006,\n\tauthor = {Eerola, T. and Himberg, T. and Toiviainen, P. and Louhivuori, J.},\n\tissue = {3},\n\tjournal = {Psychology of Music},\n\tkeywords = {Complexity, Cross-cultural},\n\tpages = {341-375},\n\ttitle = {Perceived complexity of Western and African folk melodies by Western and African listeners},\n\turl = {https://doi.org/10.1177/0305735606064842},\n\tvolume = {34},\n\tyear = {2006},\n\tbdsk-url-1 = {https://doi.org/10.1177/0305735606064842}}\n\n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n Visualization in comparative music research.\n \n \n \n\n\n \n\n\n\n In Rizzi, A., & Vichi, M., editor(s), COMPSTAT 2006 - Proceedings in Computational Statistics, pages 209-221, Heidelberg, 2006. Physica-Verlag\n \n\n\n\n
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@inproceedings{toiviainen2006,\n\taddress = {Heidelberg},\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tbook = {COMPSTAT 2006 - Proceedings in Computational Statistics},\n\tbooktitle = {COMPSTAT 2006 - Proceedings in Computational Statistics},\n\teditor = {Rizzi, A. and Vichi, M.},\n\tkeywords = {Computational modelling},\n\tpages = {209-221},\n\tpublisher = {Physica-Verlag},\n\ttitle = {Visualization in comparative music research},\n\tyear = {2006}}\n\n

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\n \n\n \n \n Eerola, T., Luck, G., & Toiviainen, P.\n\n\n \n \n \n \n An investigation of pre-schoolers' corporeal synchronization with music.\n \n \n \n\n\n \n\n\n\n In Baroni, M., Addessi, A. R., Caterina, R., & Costa, M., editor(s), Proceedings of the 9th International Conference on Music Perception & Cognition, Bologna, 2006, pages 472-476, 2006. ICMPC and ESCOM\n \n\n\n\n
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@inproceedings{eerola2006c,\n\taddres = {Bologna, Italy},\n\tauthor = {Eerola, T. and Luck, G. and Toiviainen, P.},\n\tbooktitle = {Proceedings of the 9th International Conference on Music Perception \\& Cognition, Bologna, 2006},\n\tdate-modified = {2021-10-16 20:08:01 +0100},\n\teditor = {Baroni, M. and Addessi, A. R. and Caterina, R. and Costa, M.},\n\tkeywords = {Entrainment},\n\tpages = {472-476},\n\tpublisher = {ICMPC and ESCOM},\n\ttitle = {An investigation of pre-schoolers' corporeal synchronization with music},\n\tyear = {2006}}\n\n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n \n Autocorrelation in meter induction: The role of accent structure.\n \n \n \n \n\n\n \n\n\n\n The Journal of the Acoustical Society of America, 119(2): 1164-1170. 2006.\n \n\n\n\n
\n\n\n\n \n \n $\"Autocorrelation$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{toiviainen2006b,\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tdate-modified = {2021-10-16 20:50:56 +0100},\n\tdoi = {10.1121/1.2146084},\n\tjournal = {The Journal of the Acoustical Society of America},\n\tkeywords = {Entrainment},\n\tnumber = {2},\n\tpages = {1164-1170},\n\tpublisher = {ASA},\n\ttitle = {Autocorrelation in meter induction: The role of accent structure},\n\turl = {http://link.aip.org/link/?JAS/119/1164/1},\n\tvolume = {119},\n\tyear = {2006},\n\tbdsk-url-1 = {http://link.aip.org/link/?JAS/119/1164/1},\n\tbdsk-url-2 = {https://doi.org/10.1121/1.2146084}}\n\n

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\n \n\n \n \n Eerola, T., Myllyaho, M., Pöyhönen, M., Savolainen, P., & Toiviainen, P.\n\n\n \n \n \n \n Musica viva! – Matti Vainion juhlakirja.\n \n \n \n\n\n \n\n\n\n Minerva, 2006.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@book{eerola2006mv,\n\taddres = {Jyv{\\"a}skyl{\\"a}},\n\tauthor = {Eerola, T. and Myllyaho, M. and P{\\"o}yh{\\"o}nen, M. and Savolainen, P. and Toiviainen, P.},\n\tkeywords = {Textbook},\n\tpublisher = {Minerva},\n\ttitle = {Musica viva! -- Matti Vainion juhlakirja},\n\tyear = {2006}}\n\n

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\n \n\n \n \n Eerola, T., & Toiviainen, P.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Ilmari Krohn – musiikin sisältöhaun pioneeri, pages 113-121. Eerola, T., Myllyaho, M., Pöyhönen, M., Savolainen, P., & Toiviainen, P., editor(s). Minerva, Jyväskylä, 2006.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola2006f,\n\taddress = {Jyv{\\"a}skyl{\\"a}},\n\tauthor = {Eerola, T. and Toiviainen, P.},\n\tbooktitle = {Musica viva! -- Matti Vainion juhlakirja},\n\teditor = {Eerola, T. and Myllyaho, M. and P{\\"o}yh{\\"o}nen, M. and Savolainen, P. and Toiviainen, P.},\n\tkeywords = {Textbook},\n\tpages = {113-121},\n\tpublisher = {Minerva},\n\ttitle = {Ilmari Krohn -- musiikin sis{\\"a}lt{\\"o}haun pioneeri},\n\tyear = {2006}}\n\n

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\n \n 2005\n \n \n (6)\n \n \n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n Musiikkitietokannat kansanmusiikin tutkimuksessa.\n \n \n \n\n\n \n\n\n\n Musiikin Suunta, 1: 5-11. 2005.\n \n\n\n\n
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@article{toiviainen_eerola2005,\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tjournal = {Musiikin Suunta},\n\tkeywords = {Textbook},\n\tpages = {5-11},\n\ttitle = {Musiikkitietokannat kansanmusiikin tutkimuksessa},\n\tvolume = {1},\n\tyear = {2005}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Musiikin alkuperä ja evoluutiopsykologia.\n \n \n \n\n\n \n\n\n\n Tieteessä Tapahtuu, 3: 27-32. 2005.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola2005d,\n\tauthor = {Eerola, T.},\n\tjournal = {Tieteess{\\"a} Tapahtuu},\n\tkeywords = {Textbook},\n\tpages = {27-32},\n\ttitle = {Musiikin alkuper{\\"a} ja evoluutiopsykologia},\n\tvolume = {3},\n\tyear = {2005}}\n\n

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\n \n\n \n \n Eerola, T., & Toiviainen, P.\n\n\n \n \n \n \n Musiikkiteknologia kognitiivisen musiikintutkimuksen renkinä.\n \n \n \n\n\n \n\n\n\n Musiikki, 32: 6-33. 2005.\n \n\n\n\n
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@article{eerola2006b,\n\tauthor = {Eerola, T. and Toiviainen, P.},\n\tjournal = {Musiikki},\n\tkeywords = {Textbook},\n\tpages = {6-33},\n\ttitle = {Musiikkiteknologia kognitiivisen musiikintutkimuksen renkin{\\"a}},\n\tvolume = {32},\n\tyear = {2005}}\n\n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n Classification of musical metre with autocorrelation and discriminant functions.\n \n \n \n\n\n \n\n\n\n In Proceedings of 6th International Conference on Music Information Retrieval (ISMIR 2005), pages 351-357, London,UK, 2005. Queen Mary, University of London\n \n\n\n\n
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@inproceedings{toiviainen2005,\n\taddress = {London,UK},\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tbooktitle = {Proceedings of 6th International Conference on Music Information Retrieval (ISMIR 2005)},\n\tdate-modified = {2021-10-16 20:51:08 +0100},\n\tkeywords = {Entrainment, Computational modelling},\n\tpages = {351-357},\n\tpublisher = {Queen Mary, University of London},\n\ttitle = {Classification of musical metre with autocorrelation and discriminant functions},\n\tyear = {2005}}\n\n

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\n \n\n \n \n Eerola, T., & Toiviainen, P.\n\n\n \n \n \n \n Suomen musiikintutkijoiden symposiumin satoa.\n \n \n \n\n\n \n\n\n\n Jyväskylän yliopisto, 2005.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@book{eerola2005s,\n\taddres = {Jyv{\\"a}skyl{\\"a}},\n\tauthor = {Eerola, T. and Toiviainen, P.},\n\tkeywords = {Textbook},\n\tpublisher = {Jyv{\\"a}skyl{\\"a}n yliopisto},\n\ttitle = {Suomen musiikintutkijoiden symposiumin satoa},\n\tyear = {2005}}\n\n

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\n \n\n \n \n Eerola, T., & Toiviainen, P.\n\n\n \n \n \n \n Musiikin metrin laskennallinen tunnistaminen.\n \n \n \n\n\n \n\n\n\n In Suomen musiikintutkijoiden symposiumin satoa, pages 25-29, Jyväskylä, 2005. Musiikin laitos, Jyväskylän yliopisto\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2005f,\n\taddress = {Jyv{\\"a}skyl{\\"a}},\n\tauthor = {Eerola, T. and Toiviainen, P.},\n\tbooktitle = {Suomen musiikintutkijoiden symposiumin satoa},\n\teditors = {Eerola, T. and Toiviainen, P.},\n\tkeywords = {Textbook},\n\tpages = {25-29},\n\tpublisher = {Musiikin laitos, Jyv{\\"a}skyl{\\"a}n yliopisto},\n\ttitle = {Musiikin metrin laskennallinen tunnistaminen},\n\tyear = {2005}}\n

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\n \n 2004\n \n \n (5)\n \n \n

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\n \n\n \n \n Hannon, E., Snyder, J., Eerola, T., & Krumhansl, C. L.\n\n\n \n \n \n \n \n The role of melodic and temporal cues in perceiving musical meter.\n \n \n \n \n\n\n \n\n\n\n Journal of Experimental Psychology: Human Perception and Performance, 30: 956–974. 2004.\n \n\n\n\n
\n\n\n\n \n \n $\"The$ Paper\n \n \n\n \n \n doi\n \n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{hannon2004,\n\tauthor = {Hannon, E. and Snyder, J. and Eerola, T. and Krumhansl, C. L.},\n\tdate-modified = {2021-10-16 20:50:48 +0100},\n\tdoi = {10.1037/0096-1523.30.5.956},\n\tissue = {5},\n\tjournal = {Journal of Experimental Psychology: Human Perception and Performance},\n\tkeywords = {Entrainment},\n\tpages = {956--974},\n\ttitle = {The role of melodic and temporal cues in perceiving musical meter},\n\turl = {https://doi.org/10.1037/0096-1523.30.5.956},\n\tvolume = {30},\n\tyear = {2004},\n\tbdsk-url-1 = {https://doi.org/10.1037/0096-1523.30.5.956}}\n\n

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\n \n\n \n \n Eerola, T., & Toiviainen, P.\n\n\n \n \n \n \n MIR in Matlab: The Midi Toolbox.\n \n \n \n\n\n \n\n\n\n In Proceedings of 5th International Conference on Music Information Retrieval (ISMIR 2004), pages 22-27, Barcelona, Spain, 2004. Universitat Pompeu Fabra\n \n\n\n\n
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@inproceedings{eerola2004_midi,\n\taddress = {Barcelona, Spain},\n\tauthor = {Eerola, T. and Toiviainen, P.},\n\tbooktitle = {Proceedings of 5th International Conference on Music Information Retrieval ({ISMIR} 2004)},\n\tkeywords = {Computational modelling},\n\tpages = {22-27},\n\tpublisher = {Universitat Pompeu Fabra},\n\ttitle = {{MIR} in Matlab: The Midi Toolbox},\n\tyear = {2004}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Data-driven influences on melodic expectancy: Continuations in North Sami Yoiks rated by South African traditional healers.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 8th International Conference on Music Perception & Cognition, Evanston, IL, 2004, pages 83-87, Adelaide, Australia, 2004. Causal Productions\n \n\n\n\n
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@inproceedings{eerola2004_yoik,\n\taddress = {Adelaide, Australia},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Proceedings of the 8th International Conference on Music Perception & Cognition, Evanston, IL, 2004},\n\tdate-modified = {2021-10-16 20:47:29 +0100},\n\teditors = {Libscomb, S. D., and Ashley, R., and Gjerdingen, R. O. and Webster, P.},\n\tkeywords = {Melodic expectancy, Cross-cultural},\n\tpages = {83-87},\n\tpublisher = {Causal Productions},\n\ttitle = {Data-driven influences on melodic expectancy: Continuations in North Sami Yoiks rated by South African traditional healers},\n\tyear = {2004}}\n\n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n The role of accent periodicities in meter induction: A classification study.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 8th International Conference on Music Perception & Cognition, Evanston, 2004, pages 422-425, Adelaide, Australia, 2004. Causal Productions\n \n\n\n\n
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@inproceedings{toivainen2004,\n\taddress = {Adelaide, Australia},\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tbooktitle = {Proceedings of the 8th International Conference on Music Perception & Cognition, Evanston, 2004},\n\tdate-modified = {2021-10-16 20:51:23 +0100},\n\teditors = {Libscomb, S. D., and Ashley, R., and Gjerdingen, R. O. and Webster, P.},\n\tkeywords = {Entrainment, Computational modelling},\n\tpages = {422-425},\n\tpublisher = {Causal Productions},\n\ttitle = {The role of accent periodicities in meter induction: A classification study},\n\tyear = {2004}}\n\n

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\n \n\n \n \n Eerola, T., & Toiviainen, P.\n\n\n \n \n \n \n \n Suomen Kansan eSävelmät. Digitaalinen tietovaranto.\n \n \n \n \n\n\n \n\n\n\n 2004.\n \n\n\n\n
\n\n\n\n \n \n $\"Suomen$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@book{eerola2004sks,\n\tauthor = {Eerola, T. and Toiviainen, P.},\n\tkeywords = {Textbook},\n\ttitle = {Suomen Kansan eS{\\"a}velm{\\"a}t. Digitaalinen tietovaranto},\n\turl = {http://www.jyu.fi/musica/sks/},\n\tyear = {2004},\n\tbdsk-url-1 = {http://www.jyu.fi/musica/sks/}}\n\n

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\n \n 2003\n \n \n (8)\n \n \n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n Where is the beat?: Comparison of Finnish and South African listeners.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 5th Triennial ESCOM Conference, pages 501-504, Hanover, Germany, 2003. Hanover University of Music and Drama\n \n\n\n\n
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@inproceedings{toiviainen2003,\n\taddress = {Hanover, Germany},\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tbooktitle = {Proceedings of the 5th Triennial ESCOM Conference},\n\tdate-modified = {2021-10-16 20:51:36 +0100},\n\teditors = {Kopiez, R. and Lehmann, A. C. and Wolther I. and Wolf, C.},\n\tkeywords = {Entrainment, Cross-cultural},\n\tpages = {501-504},\n\tpublisher = {Hanover University of Music and Drama},\n\ttitle = {Where is the beat?: Comparison of Finnish and South African listeners},\n\tyear = {2003}}\n\n

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\n \n\n \n \n Eerola, T., & Toiviainen, P.\n\n\n \n \n \n \n MIDI toolbox: MATLAB tools for music research.\n \n \n \n\n\n \n\n\n\n University of Jyväskylä, Jyväskylä, Finland, 2003.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@book{eerola2003tb,\n\taddres = {Jyv{\\"a}skyl{\\"a}, Finland},\n\taddress = {Jyv{\\"a}skyl{\\"a}, Finland},\n\tauthor = {Eerola, T. and Toiviainen, P.},\n\tkeywords = {Computational modelling},\n\tpublisher = {University of Jyv{\\"a}skyl{\\"a}},\n\ttitle = {MIDI toolbox: MATLAB tools for music research},\n\tyear = {2003}}\n\n

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\n\n\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n The dynamics of musical expectancy: cross-cultural and statistical approaches to melodic expectations.\n \n \n \n\n\n \n\n\n\n of Jyväskylä Studies in Arts 9University of Jyväskylä, 2003.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@book{eerola2003phd,\n\tauthor = {Eerola, T.},\n\tdate-modified = {2021-10-16 20:48:51 +0100},\n\tisbn = {951-39-1602-2},\n\tkeywords = {Melodic expectancy, Cross-cultural},\n\tpublisher = {University of Jyv{\\"a}skyl{\\"a}},\n\tseries = {Jyv{\\"a}skyl{\\"a} Studies in Arts 9},\n\ttitle = {The dynamics of musical expectancy: cross-cultural and statistical approaches to melodic expectations},\n\ttype = {Doctoral dissertation},\n\tyear = {2003}}\n\n

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\n \n\n \n \n Eerola, T., Louhivuori, J., & Moisala, P.\n\n\n \n \n \n \n Johdatus musiikintutkimukseen.\n \n \n \n\n\n \n\n\n\n of Acta Musicologica Fennica 24Suomen musiikkitieteellinen seura, Helsinki, 2003.\n \n\n\n\n
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@book{eerola2003jmt,\n\taddress = {Helsinki},\n\tauthor = {Eerola, T. and Louhivuori, J. and Moisala, P.},\n\tisbn = {951-98479-2-8},\n\tkeywords = {Textbook},\n\tpublisher = {Suomen musiikkitieteellinen seura},\n\tseries = {Acta Musicologica Fennica 24},\n\ttitle = {Johdatus musiikintutkimukseen},\n\tyear = {2003}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Musiikkipsykologia, pages 259-270. Eerola, T., Louhivuori, J., & Moisala, P., editor(s). Suomen musiikkitieteellinen seura, Helsinki, 2003.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola2003d,\n\taddress = {Helsinki},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Johdatus musiikintutkimukseen},\n\teditor = {Eerola, T. and Louhivuori, J. and Moisala, P.},\n\tkeywords = {Textbook},\n\tpages = {259-270},\n\tpublisher = {Suomen musiikkitieteellinen seura},\n\ttitle = {Musiikkipsykologia},\n\tyear = {2003}}\n\n

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\n \n\n \n \n Toiviainen, P., Eerola, T., & Louhivuori, J.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Kognitiivinen musiikkitiede, pages 87-110. Eerola, T., Louhivuori, J., & Moisala, P., editor(s). Suomen musiikkitieteellinen seura, Helsinki, 2003.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{toiviainen2003f,\n\taddress = {Helsinki},\n\tauthor = {Toiviainen, P. and Eerola, T. and Louhivuori, J.},\n\tbooktitle = {Johdatus musiikintutkimukseen},\n\teditor = {Eerola, T. and Louhivuori, J. and Moisala, P.},\n\tkeywords = {Textbook},\n\tpages = {87-110},\n\tpublisher = {Suomen musiikkitieteellinen seura},\n\ttitle = {Kognitiivinen musiikkitiede},\n\tyear = {2003}}\n\n

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\n \n\n \n \n Eerola, T., Louhivuori, J., & Moisala, P.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Musiikintutkimuksen koulutus Suomessa, pages 405-412. Eerola, T., Louhivuori, J., & Moisala, P., editor(s). Suomen musiikkitieteellinen seura, Helsinki, 2003.\n \n\n\n\n
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@inbook{eerola2003g,\n\taddress = {Helsinki},\n\tauthor = {Eerola, T. and Louhivuori, J. and Moisala, P.},\n\tbooktitle = {Johdatus musiikintutkimukseen},\n\teditor = {Eerola, T. and Louhivuori, J. and Moisala, P.},\n\tkeywords = {Textbook},\n\tpages = {405-412},\n\tpublisher = {Suomen musiikkitieteellinen seura},\n\ttitle = {Musiikintutkimuksen koulutus Suomessa},\n\tyear = {2003}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Musiikintutkimusta edistäviä järjestöjä, pages 381-384. Eerola, T., Louhivuori, J., & Moisala, P., editor(s). Suomen musiikkitieteellinen seura, Helsinki, 2003.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola2003h,\n\taddress = {Helsinki},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Johdatus musiikintutkimukseen},\n\teditor = {Eerola, T. and Louhivuori, J. and Moisala, P.},\n\tkeywords = {Textbook},\n\tpages = {381-384},\n\tpublisher = {Suomen musiikkitieteellinen seura},\n\ttitle = {Musiikintutkimusta edist{\\"a}vi{\\"a} j{\\"a}rjest{\\"o}j{\\"a}},\n\tyear = {2003}}\n\n

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\n \n 2002\n \n \n (2)\n \n \n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n A computational model of melodic similarity based on multiple representations and self-organizing maps.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 7th International Conference on Music Perception and Cognition, pages 236-239, Sydney, Australia, 2002. Causal Productions\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{toiviainen2002,\n\taddress = {Sydney, Australia},\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tbooktitle = {Proceedings of the 7th International Conference on Music Perception and Cognition},\n\teditors = {Stevens, C. and Burnham, D. and McPherson, G. and Schubert, E. and Renwick, J.},\n\tkeywords = {Musical similarity},\n\tpages = {236-239},\n\tpublisher = {Causal Productions},\n\ttitle = {A computational model of melodic similarity based on multiple representations and self-organizing maps},\n\tyear = {2002}}\n\n

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\n \n\n \n \n Eerola, T., Toiviainen, P., & Krumhansl, C. L.\n\n\n \n \n \n \n Real-time prediction of melodies: Continuous predictability judgments and dynamic models.\n \n \n \n\n\n \n\n\n\n In Proceedings of the 7th International Conference on Music Perception and Cognition, pages 473-476, Sydney, Australia, 2002. Causal Productions\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2002,\n\taddress = {Sydney, Australia},\n\tauthor = {Eerola, T. and Toiviainen, P. and Krumhansl, C. L.},\n\tbooktitle = {Proceedings of the 7th International Conference on Music Perception and Cognition},\n\teditors = {Stevens, C. and Burnham, D. and McPherson, G. and Schubert, E. and Renwick, J.},\n\tkeywords = {Melodic expectancy},\n\tpages = {473-476},\n\tpublisher = {Causal Productions},\n\ttitle = {Real-time prediction of melodies: Continuous predictability judgments and dynamic models},\n\tyear = {2002}}\n\n

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\n \n 2001\n \n \n (5)\n \n \n

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\n \n\n \n \n Eerola, T., Järvinen, T., Louhivuori, J., & Toiviainen, P.\n\n\n \n \n \n \n Statistical features and perceived similarity of folk melodies.\n \n \n \n\n\n \n\n\n\n Music Perception, 18(3): 275-296. 2001.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

\n

@article{eerola2001,\n\tabstract = {Notes that listeners are sensitive to pitch distributional information in music (N. Oram and L. L. Cuddy, 1995, C. L. Krumhansl, et al, 1999). However, it is uncertain whether frequency-based musical features are sufficient to explain the similarity judgments that underlie listeners' classification processes. A similarity rating experiment was designed to determine the effectiveness of these features in predicting listeners' similarity ratings. 17 undergraduate music students (mean age 23.4 yrs) participated. The material consisted of 15 melodies representing 5 folk music styles. A multiple regression analysis showed that the similarity of frequency-based musical properties could account for a moderate amount (40%) of listeners' similarity ratings. A slightly better predictive rate (55%) was achieved by using descriptive variables such as number of tones, rhythmic variability, and melodic predictability. The results suggest that both measures were able to capture some aspects of the structures that portray common salient dimensions to which listeners pay attention while categorizing melodies.},\n\tauthor = {Eerola, T. and J{\\"a}rvinen, T. and Louhivuori, J. and Toiviainen, P.},\n\tjournal = {Music Perception},\n\tkeywords = {Musical similarity},\n\tnumber = {3},\n\tpages = {275-296},\n\ttitle = {Statistical features and perceived similarity of folk melodies},\n\tvolume = {18},\n\tyear = {2001}}\n\n

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\n \n\n \n \n Toiviainen, P., & Eerola, T.\n\n\n \n \n \n \n A method for comparative analysis of folk music based on musical feature extraction and neural networks.\n \n \n \n\n\n \n\n\n\n In Proceedings of the VII International Symposium on Systematic and Comparative Musicology and III International Conference on Cognitive Musicology, pages 41-45, 2001. University of Jyväskylä, Finland\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{toiviainen2001,\n\tauthor = {Toiviainen, P. and Eerola, T.},\n\tbooktitle = {Proceedings of the VII International Symposium on Systematic and Comparative Musicology and III International Conference on Cognitive Musicology},\n\tkeywords = {Computational modelling},\n\tpages = {41-45},\n\tpublisher = {University of Jyv{\\"a}skyl{\\"a}, Finland},\n\ttitle = {A method for comparative analysis of folk music based on musical feature extraction and neural networks},\n\tyear = {2001}}\n\n

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\n\n\n\n

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\n \n\n \n \n Louhivuori, J., & Eerola, T.\n\n\n \n \n \n \n Cross-cultural approach in music cognition.\n \n \n \n\n\n \n\n\n\n In Proceedings of the VII International Symposium on Systematic and Comparative Musicology and III International Conference on Cognitive Musicology, pages 107, 2001. University of Jyväskylä, Finland\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{louhivuori2001,\n\tauthor = {Louhivuori, J. and Eerola, T.},\n\tbooktitle = {Proceedings of the VII International Symposium on Systematic and Comparative Musicology and III International Conference on Cognitive Musicology},\n\tdate-modified = {2021-10-16 20:49:06 +0100},\n\tkeywords = {Textbook, Cross-cultural},\n\tpages = {107},\n\tpublisher = {University of Jyv{\\"a}skyl{\\"a}, Finland},\n\ttitle = {Cross-cultural approach in music cognition},\n\tyear = {2001}}\n\n

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\n \n\n \n \n Erkkilä, J., & Eerola, T.\n\n\n \n \n \n \n Music therapy methods in the treatment of gambling addiction.\n \n \n \n\n\n \n\n\n\n In Proceedings of the European Conference of Music Therapy, Naples, Italy, 2001. \n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{erkkila2001b,\n\tauthor = {Erkkil{\\"a}, J. and Eerola, T.},\n\tbooktitle = {Proceedings of the European Conference of Music Therapy, Naples, Italy},\n\tkeywords = {Music therapy},\n\ttitle = {Music therapy methods in the treatment of gambling addiction},\n\tyear = {2001}}\n\n

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\n \n\n \n \n Erkkilä, J., & Eerola, T.\n\n\n \n \n \n \n Hallitsetko sinä pelejä vai pelit sinua? - Tutkimus ongelmapelaajien monimenetelmäisestä kuntoutusprojektista.\n \n \n \n\n\n \n\n\n\n Suomen musiikkiterapiayhdistys ry, Jyväskylä, 2001.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@book{erkkila2001,\n\taddress = {Jyv{\\"a}skyl{\\"a}},\n\tauthor = {Erkkil{\\"a}, J. and Eerola, T.},\n\tisbn = {951-98741-0-0},\n\tkeywords = {Music therapy},\n\tpublisher = {Suomen musiikkiterapiayhdistys ry},\n\ttitle = {Hallitsetko sin{\\"a} pelej{\\"a} vai pelit sinua? - Tutkimus ongelmapelaajien monimenetelm{\\"a}isest{\\"a} kuntoutusprojektista},\n\tyear = {2001}}\n\n

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\n\n\n\n\n\n

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\n \n 2000\n \n \n (5)\n \n \n

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\n \n \n

\n \n\n \n \n Krumhansl, C. L., Toivanen, P., Eerola, T., Toiviainen, P., Järvinen, T., & Louhivuori, J.\n\n\n \n \n \n \n \n Cross-cultural music cognition: Cognitive methodology applied to North Sami yoiks.\n \n \n \n \n\n\n \n\n\n\n Cognition, 76(1): 13-58. 2000.\n \n\n\n\n
\n\n\n\n \n \n $\"Cross-cultural$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{krumhansl2000,\n\tabstract = {Investigated melodic expectancy in North Sami yoiks. Three different approaches were taken. The 1st, a statistical style analysis of tones in a representative corpus of 18 yoiks, determined the relative frequencies of tone onsets and 2- and 3-tone transitions and identified style characteristics, such as pentatonic orientation, the presence of 2 reference pitches, the frequency of large consonant intervals, and a relatively large set of possible melodic continuations. The 2nd approach was a behavioral experiment in which listeners made judgments about melodic continuations. Three groups of 19-39 yr old listeners participated. One group was from the Sami culture, the 2nd group consisted of Finnish music students who had learned some yoiks, and the 3rd group consisted of Western musicians unfamiliar with yoiks. Expertise was associated with stronger veridical expectations than schematic expectations. Familiarity with the particular yoiks was found to compensate for lack of experience with the musical culture. The 3rd approach simulated melodic expectancy with neural network models of the self organizing map (SOM) type. The convergence of the three approaches showed that both listeners and the SOM model are influenced by the statistical distributions of tones and tone sequences.},\n\tauthor = {Krumhansl, C. L. and Toivanen, P. and Eerola, T. and Toiviainen, P. and J{\\"a}rvinen, T. and Louhivuori, J.},\n\tdate-modified = {2021-10-16 20:48:30 +0100},\n\tjournal = {Cognition},\n\tkeywords = {Cross-cultural, Melodic expectancy},\n\tnumber = {1},\n\tpages = {13-58},\n\ttitle = {Cross-cultural music cognition: Cognitive methodology applied to North Sami yoiks},\n\turl = {https://doi.org/10.1016/S0010-0277(00)00068-8},\n\tvolume = {76},\n\tyear = {2000},\n\tbdsk-url-1 = {https://doi.org/10.1016/S0010-0277(00)00068-8}}\n\n

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\n\n\n\n\n\n

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\n \n\n \n \n Eerola, T., Järvinen, T., Louhivuori, J., & Toiviainen, P.\n\n\n \n \n \n \n Categorising folk melodies using similarity ratings.\n \n \n \n\n\n \n\n\n\n In Proceedings of the Sixth International Conference on Music Perception and Cognition, pages 677-682, Keele, Staffordshire, UK, 2000. Department of Psychology, Keele University\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{eerola200,\n\taddress = {Keele, Staffordshire, UK},\n\tauthor = {Eerola, T. and J{\\"a}rvinen, T. and Louhivuori, J. and Toiviainen, P.},\n\tbooktitle = {Proceedings of the Sixth International Conference on Music Perception and Cognition},\n\teditors = {Woods, C. and Luck, G. B., and Brochard, R. and O'Neill, S. A. and Sloboda, J. A.},\n\tkeywords = {Musical similarity},\n\tpages = {677-682},\n\tpublisher = {Department of Psychology, Keele University},\n\ttitle = {Categorising folk melodies using similarity ratings},\n\tyear = {2000}}\n\n

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\n\n\n\n

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\n \n\n \n \n Eerola, T., & North, A. C.\n\n\n \n \n \n \n Expectancy-based model of melodic complexity.\n \n \n \n\n\n \n\n\n\n In Woods, C., Luck, G. B., Brochard, R., O'Neill, S. A., & Sloboda, J. A., editor(s), Proceedings of the Sixth International Conference on Music Perception and Cognition, pages 1177-1183, Keele, Staffordshire, UK, 2000. Department of Psychology, Keele University\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{eerola200a,\n\taddress = {Keele, Staffordshire, UK},\n\tauthor = {Eerola, T. and North, A. C.},\n\tbooktitle = {Proceedings of the Sixth International Conference on Music Perception and Cognition},\n\teditor = {Woods, C. and Luck, G. B. and Brochard, R. and O'Neill, S. A. and Sloboda, J. A.},\n\tkeywords = {Melodic expectancy, Complexity},\n\tpages = {1177-1183},\n\tpublisher = {Department of Psychology, Keele University},\n\ttitle = {Expectancy-based model of melodic complexity},\n\tyear = {2000}}\n\n

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\n\n\n\n

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\n \n\n \n \n Eerola, T., & North, A. C.\n\n\n \n \n \n \n Expectancy-based model of melodic complexity.\n \n \n \n\n\n \n\n\n\n In Proceedings XVI Congress of the International Association of Empirical Aesthetics, pages 46-47, New York, US, 2000. Department of Psychology, Montclair State University\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

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@inproceedings{eerola2000b,\n\taddress = {New York, US},\n\tauthor = {Eerola, T. and North, A. C.},\n\tbooktitle = {Proceedings XVI Congress of the International Association of Empirical Aesthetics},\n\tkeywords = {Melodic expectancy, Complexity},\n\tpages = {46-47},\n\tpublisher = {Department of Psychology, Montclair State University},\n\ttitle = {Expectancy-based model of melodic complexity},\n\tyear = {2000}}\n\n

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\n \n\n \n \n Heinonen, Y., & Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n The Beatles and their times. Thoughts on the \"relative autonomy\" of stylistic change, pages 1-42. University of Jyväskylä, Jyväskylä, 2000.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{heinonen2000,\n\taddress = {Jyv{\\"a}skyl{\\"a}},\n\tauthor = {Heinonen, Y. and Eerola, T.},\n\tbooktitle = {Beatlestudies 2: History, Identity, Authenticity},\n\teditors = {Heinonen, Y. and Koskim{\\"a}ki, J. and Niemi, S. and Nurmesj{\\"a}rvi, T.},\n\tkeywords = {Textbook},\n\tpages = {1-42},\n\tpublisher = {University of Jyv{\\"a}skyl{\\"a}},\n\ttitle = {The Beatles and their times. Thoughts on the {"}relative autonomy{"} of stylistic change},\n\tyear = {2000}}\n\n

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\n\n\n\n\n\n

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\n \n 1999\n \n \n (1)\n \n \n

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\n \n \n

\n \n\n \n \n Krumhansl, C. L., Louhivuori, J., Toiviainen, P., Järvinen, T., & Eerola, T.\n\n\n \n \n \n \n \n Melodic expectation in Finnish spiritual folk hymns: Convergence of statistical, behavioral, and computational approaches.\n \n \n \n \n\n\n \n\n\n\n Music Perception, 17(2): 151-195. 1999.\n \n\n\n\n
\n\n\n\n \n \n $\"Melodic$ Paper\n \n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n\n\n\n

\n

@article{krumhansl1999,\n\tabstract = {This study of Finnish spiritual folk hymns used 3 approaches to understanding melodic expectation. A statistical style analysis of a representative corpus of 18 hymns determined the relative frequencies of tone onsets and 2- and 3-tone transitions. The 2nd approach was a behavioral experiment in which listeners, either familiar (experts) or unfamiliar (nonexperts) with the hymns, made judgments about melodic continuations. The 3rd approach simulated melodic expectation with neural network models of the self-organizing map (SOM) type. One model was trained on a corpus of Finnish folk songs and Lutheran hymns (Finnish SOM), while another was trained with the hymn contexts used in the experiment with the correct continuation tone (Hymn SOM). The conclusions dealt with listeners' are sensitivity to the distributions of tones and tone transitions in music (nonexperts vs experts), SOMs producing results similar to listeners and appearing to be sensitive to the distributions of tones and tone transitions, and the Hymn SOM correlations with experts' judgments.},\n\tauthor = {Krumhansl, C. L. and Louhivuori, J. and Toiviainen, P. and J{\\"a}rvinen, T. and Eerola, T.},\n\tjournal = {Music Perception},\n\tkeywords = {Cross-cultural, Melodic expectancy},\n\tnumber = {2},\n\tpages = {151-195},\n\ttitle = {Melodic expectation in Finnish spiritual folk hymns: Convergence of statistical, behavioral, and computational approaches},\n\turl = {https://doi.org/10.2307/40285890},\n\tvolume = {17},\n\tyear = {1999},\n\tbdsk-url-1 = {https://doi.org/10.2307/40285890}}\n\n

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\n \n 1998\n \n \n (2)\n \n \n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n The rise and fall of the experimental style of the Beatles, pages 33-60. University of Jyväskylä, Jyväskylä, 1998.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{eerola1998a,\n\taddress = {Jyv{\\"a}skyl{\\"a}},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Beatlesstudies 1},\n\teditors = {Heinonen, Y. and Eerola, T. and Koskim{\\"a}ki, J. and Nurmesj{\\"a}rvi, T. and Richardson, J.},\n\tkeywords = {Textbook},\n\tpages = {33-60},\n\tpublisher = {University of Jyv{\\"a}skyl{\\"a}},\n\ttitle = {The rise and fall of the experimental style of the Beatles},\n\tyear = {1998}}\n\n

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\n \n\n \n \n Heinonen, Y., & Eerola, T.\n\n\n \n \n \n \n .\n \n \n \n\n\n \n\n\n\n Songwriting, recording, and style change. Problems in the chronology and periodization of the musical style of the Beatles, pages 1-32. University of Jyväskylä, Jyväskylä, 1998.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inbook{heinonen1998,\n\taddress = {Jyv{\\"a}skyl{\\"a}},\n\tauthor = {Heinonen, Y. and Eerola, T.},\n\tbooktitle = {Beatlesstudies 1},\n\teditors = {Heinonen, Y. and Eerola, T. and Koskim{\\"a}ki, J. and Nurmesj{\\"a}rvi, T. and Richardson, J.},\n\tkeywords = {Textbook},\n\tpages = {1-32},\n\tpublisher = {University of Jyv{\\"a}skyl{\\"a}},\n\ttitle = {Songwriting, recording, and style change. Problems in the chronology and periodization of the musical style of the Beatles},\n\tyear = {1998}}\n\n

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\n \n 1997\n \n \n (2)\n \n \n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n The rise and fall of the experimental style of the Beatles: The life span of stylistic periods in music.\n \n \n \n\n\n \n\n\n\n In Gabrielsson, A., editor(s), Proceedings of the Third Triennial European Society for the Cognitive Science of Music (ESCOM) Conference, pages 377-381, Uppsala, Sweden, 1997. Dept. of Psychology, Uppsala University\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@inproceedings{eerola1997,\n\taddress = {Uppsala, Sweden},\n\tauthor = {Eerola, T.},\n\tbooktitle = {Proceedings of the Third Triennial European Society for the Cognitive Science of Music (ESCOM) Conference},\n\teditor = {Gabrielsson, A.},\n\tkeywords = {Textbook},\n\tpages = {377-381},\n\tpublisher = {Dept. of Psychology, Uppsala University},\n\ttitle = {The rise and fall of the experimental style of the Beatles: The life span of stylistic periods in music},\n\tyear = {1997}}\n\n

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\n \n\n \n \n Eerola, T.\n\n\n \n \n \n \n Beatles-yhtyeen kokeilevan kauden nousu ja tuho.\n \n \n \n\n\n \n\n\n\n Etnomusikologian Vuosikirja, 9: 158-182. 1997.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n

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@article{eerola1997a,\n\tauthor = {Eerola, T.},\n\tjournal = {Etnomusikologian Vuosikirja},\n\tkeywords = {Textbook},\n\tpages = {158-182},\n\tpublisher = {Suomen Etnomusikologinen Seura},\n\ttitle = {Beatles-yhtyeen kokeilevan kauden nousu ja tuho},\n\tvolume = {9},\n\tyear = {1997}}\n\n

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