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Handbook of Music and Emotion: Theory, Research,
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Patrik N. Juslin

Print publication date: 2010

Print ISBN-13: 9780199230143

Published to Oxford Scholarship Online: March 2012

DOI: 10.1093/acprof:oso/9780199230143.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 03 December 2021

Continuous Self-Report Methods

Continuous Self-Report Methods

(p.222) (p.223) Chapter 9 Continuous Self-Report Methods
Handbook of Music and Emotion: Theory, Research, Applications

Emery schubert

Oxford University Press

Only a small fraction of research in music perception and cognition has focused on the fundamental nature of time in music and the emotion it produces. In the last 80 years, there has been the implicit assumption that musical emotion can be understood by collecting (emotional) responses or assessments after a musical stimulus has been sounded, the so-called ‘postperformance’ response. Since the first important English-language experiments on the topic, the reasons for such an approach can be identified as pragmatism and tradition. Collecting self-report responses continuously requires careful synchronization of each response with the time in the music at which the response occurred. Frequent sampling of responses over time can produce large sets of data, too. Apart from a few ingenious solutions, this methodology needed significant computational power, something that would not be widespread until the 1990s. As researchers began to explore this time-dependent mode of data collection, they were faced with the problem of how to interpret the huge data sets accumulated. Indeed, there are now several methods of data collection and analysis of continuous emotional responses to music, many of them quite recent developments. This chapter discusses some of these (measurement and analysis methods) after defining continuous response. It concludes by briefly discussing some of the current issues in continuous-response method in connection with emotion and music, and speculates on some future directions and challenges.

Keywords:   continuous-response methods, music, emotions, emotional response

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