Recognition of emotions in music through the Adaptive-Network-Based Fuzzy (ANFIS)

Author(s):  
Paulo Sergio da Conceição Moreira ◽  
Denise Fukumi Tsunoda
Philosophia ◽  
2017 ◽  
Vol 46 (3) ◽  
pp. 647-664
Author(s):  
Marta Benenti ◽  
Cristina Meini

1988 ◽  
Vol 67 (3) ◽  
pp. 697-698 ◽  
Author(s):  
Mark Meerum Terwogt ◽  
Flora Van Grinsven

32 children 5 to 6 yr. old, 32 9 to 11 yr. old, and 32 adults linked musical fragments to emotions in a similar manner, older subjects being more accurate. Some emotions were more difficult than others; anger and fear were often confused. Older subjects gave better justifications for their choices.


2018 ◽  
Vol 1 ◽  
pp. 205920431876265 ◽  
Author(s):  
Dianna Vidas ◽  
Genevieve A. Dingle ◽  
Nicole L. Nelson

The acoustic cues that convey emotion in speech are similar to those that convey emotion in music, and recognition of emotion in both of these types of cue recruits overlapping networks in the brain. Given the similarities between music and speech prosody, developmental research is uniquely positioned to determine whether recognition of these cues develops in parallel. In the present study, we asked 60 children aged 6 to 11 years, and 51 university students, to judge the emotions of 10 musical excerpts, 10 inflected speech clips, and 10 affect burst clips. We presented stimuli intended to convey happiness, sadness, anger, fear, and pride. Each emotion was presented twice per type of stimulus. We found that recognition of emotions in music and speech developed in parallel, and adult-levels of recognition develop later for these stimuli than for affect bursts. We also found that sad stimuli were most easily recognised, followed by happiness, fear, and then anger. In addition, we found that recognition of emotion in speech and affect bursts can predict emotion recognition in music stimuli independently of age and musical training. Finally, although proud speech and affect bursts were not well recognised, children aged eight years and older showed adult-like responses in recognition of proud music.


Author(s):  
Alice Mado Proverbio ◽  
Elisa Camporeale ◽  
Alessandra Brusa

2014 ◽  
Vol 6 (3) ◽  
pp. 193-206
Author(s):  
Petri Järveläinen

The article introduces a cognitive and componential view of religious emotions. General emotions are claimed to consist of at least two compounds, the cognitive compound and the affective compound. Religious emotions are typically general emotions which are characterized by three specific conditions: they involve a thought of God or godlike, they are significant for a person feeling them and their meaning is derived from religious practices. The article discusses the notion of spiritual emotions in Ancient theology and compares the idea of it with emotions in music. By referring to the notion of mental language, it is argued that some religious emotions are like emotions in music and as such they can be interpreted as tones of Logos.


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