How often and why mode fails to predict mood in low-arousal classical piano music

References

• Balkwill, L.-L. , & Thompson, W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception , 17 (1), 43–64. doi: 10.2307/40285811
   Web of Science ®Google Scholar
• Bigand, E. , Vieillard, S. , Madurell, F. , Marozeau, J. , & Dacquet, A. (2005). Multidimensional scaling of emotional responses to music: The effect of musical expertise and of the duration of the excerpts. Cognition & Emotion , 19 (8), 1113–1139. doi: 10.1080/02699930500204250
   Web of Science ®Google Scholar
• Bischoff, K. , Firan, C. S. , Paiu, R. , Nejdl, W. , Laurier, C. , & Sordo, M. (2009). Music mood and theme classification – A hybrid approach. ISMIR 2009 (pp. 657–662). Retrieved from http://dblp.uni-trier.de/rec/html/conf/ismir/BischoffFPNLS09http://dblp.uni-trier.de/rec/html/conf/ismir/BischoffFPNLS09
   Google Scholar
• Chau, C.-J. , Mo, R. , & Horner, A. (2016). The emotional characteristics of piano sounds with different pitch and dynamics. Journal of the Audio Engineering Society , 64 (11), 918–932. doi: 10.17743/jaes.2016.0049
   Web of Science ®Google Scholar
• Chau, C.-J. , Wu, B. , & Horner, A. (2015). The emotional characteristics and timbre of nonsustaining instrument sounds. Journal of the Audio Engineering Society , 63 (4), 228–244. doi: 10.17743/jaes.2015.0016
   Web of Science ®Google Scholar
• Chin, Y.-H. , Lin, C.-H. , Siahaan, E. , Wang, I.-C. , & Wang, J.-C. (2013). Music emotion classification using double-layer support vector machines. In International Conference on Orange Technologies (pp. 193–196). IEEE.
   Google Scholar
• Eerola, T. , Friberg, A. , & Bresin, R. (2013). Emotional expression in music: Contribution. linearity, and additivity of primary musical cues. Frontiers in Psychology , 4 , Article 487. doi: 10.3389/fpsyg.2013.00487
   PubMed Web of Science ®Google Scholar
• Eerola, T. , & Vuoskoski, J. K. (2011). A comparison of the discrete and dimensional models of emotion in music. Psychology of Music , 39 (1), 18–49. doi: 10.1177/0305735610362821
   Web of Science ®Google Scholar
• Friberg, A. , & Ahlback, S. (2009). Recognition of the main melody in a polyphonic symbolic score using perceptual knowledge. Journal of New Music Research , 38 (2), 155–169. doi: 10.1080/09298210903215900
   Web of Science ®Google Scholar
• Friberg, A. , Schoonderwaldt, E. , Hedblad, A. , Fabiani, M. , & Elowsson, A. (2014). Using listener-based perceptual features as intermediate representations in music information retrieval. The Journal of the Acoustical Society of America , 136 (4), 1951–1963. doi: 10.1121/1.4892767
   PubMed Web of Science ®Google Scholar
• Gilburt, S. J. , Chau, C.-J. , & Horner, A. (2016). The effects of pitch and dynamics on the emotional characteristics of bowed string instruments. In International Computer Music Conference (pp. 405–410).
   Google Scholar
• Gomez, E. (2006). Tonal description of polyphonic audio for music content processing. INFORMS Journal on Computing , 18 (3), 294–304. doi: 10.1287/ijoc.1040.0126
   Web of Science ®Google Scholar
• Gomez, P. , & Danuser, B. (2007). Relationships between musical structure and psychophysiological measures of emotion. Emotion , 7 (2), 377–387. doi: 10.1037/1528-3542.7.2.377
   PubMed Web of Science ®Google Scholar
• Hevner, K. (1935). The affective character of the major and minor modes in music. The American Journal of Psychology , 47 (1), 103–118. doi: 10.2307/1416710
   Google Scholar
• Hevner, K. (1937). The affective value of pitch and tempo in music. The American Journal of Psychology , 49 (4), 621–630. doi: 10.2307/1416385
   Google Scholar
• Hong, Y. , Chau, C.-J. , & Horner, A. (2017). An analysis of low-arousal piano music ratings to uncover what makes calm and sad music so difficult to distinguish in music emotion recognition. Journal of the Audio Engineering Society , 65 (4), 304–320. doi: 10.17743/jaes.2017.0001
   Web of Science ®Google Scholar
• Huron, D. (2001). Tone and voice: A derivation of the rules of voice-leading from perceptual principles. Music Perception , 19 (1), 1–64. doi: 10.1525/mp.2001.19.1.1
   Web of Science ®Google Scholar
• Ilie, G. , & Thompson, W. F. (2006). A comparison of acoustic cues in music and speech for three dimensions of affect. Music Perception , 23 (4), 319–330. doi: 10.1525/mp.2006.23.4.319
   Web of Science ®Google Scholar
• Juslin, P. N. , & Lindstrom, E. (2010). Musical expression of emotions: Modelling listeners’ judgements of composed and performed features. Music Analysis , 29 (1–3), 334–364. doi: 10.1111/j.1468-2249.2011.00323.x
   Web of Science ®Google Scholar
• Krumhansl, C. L. (2001). Cognitive foundations of musical pitch . Oxford: Oxford University Press.
   Google Scholar
• Lahdelma, I. , & Eerola, T. (2016). Single chords convey distinct emotional qualities to both naïve and expert listeners. Psychology of Music , 44 (1), 37–54. doi: 10.1177/0305735614552006
   Web of Science ®Google Scholar
• Lartillot, O. , Toiviainen, P. , & Eerola, T. (2008). A matlab toolbox for music information retrieval. In C. Preisach, H. Burkhardt, L. Schmidt-Thieme, & R. Decker (Eds.), Data analysis, machine learning and applications (pp. 261–268). Berlin, Heidelberg: Springer.
   Google Scholar
• Myint, E. E. , & Pwint, M. (2010). An approach for multi-label music mood classification. In International Conference on Signal Processing Systems (Vol. 1, pp. 290–294). IEEE.
   Google Scholar
• Noland, K. C. (2009). Computational tonality estimation: Signal processing and hidden Markov models. Queen Mary University of London.
   Google Scholar
• Peeters, G. (2006). Chroma-based estimation of musical key from audio-signal analysis. ISMIR 2006 (pp. 115–120). Retrieved from http://dblp.uni-trier.de/rec/html/conf/ismir/Peeters06
   Google Scholar
• Pouyanfar, S. , & Sameti, H. (2014). Music emotion recognition using two level classification. In Iranian Conference on Intelligent Systems (pp. 1–6). IEEE.
   Google Scholar
• Toiviainen, P. A. (2003). Measuring and modeling real-time responses to music: The dynamics of tonality induction. Perception , 32 (6), 741–766. doi: 10.1068/p3312
   PubMed Web of Science ®Google Scholar
• Wilson, E. B. (1927). Probable inference, the law of succession, and statistical inference. Journal of the American Statistical Association , 22 , 209–212. doi: 10.1080/01621459.1927.10502953
   Web of Science ®Google Scholar
• Wu, B. , Horner, A. , & Lee, C. (2014). The correspondence of music emotion and timbre in sustained musical instrument sounds. Journal of the Audio Engineering Society , 62 (10), 663–675. doi: 10.17743/jaes.2014.0037
   Web of Science ®Google Scholar