| 期刊論文1. | Bradley, Margaret M.、Lang, P. J.(1994)。Measuring emotion: The Self-Assessment Manikin and the semantic differential。Journal of Behavior Therapy and Experimental Psychiatry,25(1),49-59。 | 2. | Lundqvist, Lars Olov、Carlsson, F.、Hilmersson, P.、Juslin, P. N.(2009)。Emotional responses to music: experience, expression, and physiology。Psychology of Music,37(1),61-90。 | 3. | Eerola, T.、Vuoskoski, J. K.(2013)。A review of music and emotion studies: Approaches, emotion models, and stimuli。Music Perception,30(3),307-340。 | 4. | Kreibig, S. D.(2010)。Autonomic nervous system activity in emotion: A review。Biological Psychology,84(3),394-421。 | 5. | 白學軍、朱昭紅、沈德立、劉楠(2009)。獎懲線索條件下內外傾個體的自主喚醒和行為反應。心理學報,41(6),492-500。 延伸查詢 | 6. | Bigand, E.、Poulin, B.、Tillmann, B.、Madurell, F.、D'Adamo, D. A.(2003)。Sensory versus cognitive components in harmonic priming。Journal of Experimental Psychology: Human Perception and Performance,29(1),159-171。 | 7. | Bigand, E.、Delbé, C.、Poulin-Charronnat, B.、Leman, M.、Tillmann, B.(2014)。Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term Memory。Frontiers in Systematic Neuroscience,8,94。 | 8. | 蔡岳建、潘孝富、莊鐘春曉(2007)。音樂的速度與調式對大學生情緒影響的實證研究。心理科學,30,196-198。 延伸查詢 | 9. | Collins, T.、Tillmann, B.、Barrett, F. S.、Delbé, C.、Janata, P.(2014)。A combined model of sensory and cognitive representations underlying tonal expectations in music: From audio signals to behavior。Psychological Review,121,33-65。 | 10. | Flaig, N. K.、Large, E. W.(2014)。Dynamic musical communication of core affect。Frontiers in Psychology,5,72。 | 11. | Gebauer, L.、Kringelbach, M.、Vuust, P.(2012)。Ever-changing cycles of musical pleasure: The role of dopamine and anticipation。Psychomusicology: Music, Mind, and Brain,22,152-167。 | 12. | Gomez, P.、Danuser, B.(2004)。Affective and physiological responses to environmental noises and music。International Journal of Psychophysiology,53(2),91-103。 | 13. | Hill, W. T.、Palmer, J. A.(2014)。Affective responses to music without recognition: Beyond the cognitivist hypothesis。The New School Psychology Bulletin,11,42-49。 | 14. | 黃衛平(2011)。樂曲節拍、速度和調式對大學生情緒影響的實證分析。高等教育研究,2011(3),83-85。 延伸查詢 | 15. | Huron, D.、Davis, M. J.(2012)。The harmonic minor scale provides an optimum way of reducing average melodic interval size consistent with sad affect cues。Empirical Music Review,7,103-117。 | 16. | Juslin, P. N.、Lindström, E.(2010)。Musical expression of emotions: Modelling listeners' judgements of composed and performed features。Music Analysis,29,334-364。 | 17. | Koelsch, S.、Kilches, S.、Steinbeis, N.、Schelinski, S.(2008)。Effects of unexpected chords and of performer's expression on brain responses and electrodermal activity。PLoS ONE,3,e2631。 | 18. | Koelsch, S.、Jentschke, S.(2009)。Differences in electric brain responses to melodies and chords。Journal of Cognitive Neuroscience,22,2251-2262。 | 19. | Koelsch, S.(2011)。Toward a neural basis of music perception-A review and updated model。Frontiers in Psychology,2,110。 | 20. | Koelsch, Stefan(2014)。Brain correlates of music-evoked emotions。Nature Reviews Neuroscience,15(3),170-180。 | 21. | Koelsch, S.(2015)。Music-evoked emotions: Principles, brain correlates, and implications for therapy。Annals of the New York Academy of Sciences,1337,193-201。 | 22. | Krumhansl, C. L.(1996)。A perceptual analysis of Mozart's Piano Sonata K. 282: Segmentation, tension, and musical ideas。Music Perception,13,401-432。 | 23. | Kukolja, J.、Schläpfer, T. E.、Keysers, C.、Klingmüller. D.、Maier, W.、Fink, G. R.、Hurlemann, R.(2008)。Modeling a negative response bias in the human amygdala by noradrenergic-glucocorticoid interactions。The Journal of Neuroscience,28,12868-12876。 | 24. | Laukka, P.、Eerola, T.、Thingujam, N. S.、Yamasaki, T.、Beller, G.(2013)。Universal and culture-specific factors in the recognition and performance of musical affect expressions。Emotion,13,434-449。 | 25. | Lehne, M.、Rohrmeier, M.、Koelsch, S.(2013)。Tensionrelated activity in the orbitofrontal cortex and amygdala: An fMRI study with music。Social Cognitive and Affective Neuroscience,9,1515-1523。 | 26. | Lehne, M.、Koelsch, S.(2015)。Toward a general psychological model of tension and suspense。Frontiers in Psychology,6,79。 | 27. | Lerdahl, F.、Krumhansl, C. L.(2007)。Modeling tonal tension。Music Perception,24,329-366。 | 28. | Levenson, R. W.(2014)。The autonomic nervous system and emotion。Emotion Review,6,100-112。 | 29. | 馬諧、白學軍、陶雲(2013)。音樂與情緒誘發的機制模型。心理科學進展,21,643-665。 延伸查詢 | 30. | Nater, U. M.、Abbruzzese, E.、Krebs, M.、Ehlert, U.(2006)。Sex differences in emotional and psychophysiological responses to musical stimuli。International Journal of Psychophysiology,62(2),300-308。 | 31. | Straehley, I. C.、Loebach, J. L.(2014)。The influence of mode and musical experience on the attribution of emotions to melodic sequences。Psychomusicology: Music, Mind, and Brain,24,21-34。 | 32. | Swaminathan, S.、Schellenberg, E. G.(2015)。Current emotion research in music psychology。Emotion Review,7,189-197。 | 33. | Tillmann, B.、Gosselin, N.、Bigand, E.、Peretz, I.(2012)。Priming paradigm reveals harmonic structure processing in congenital amusia。Cortex,48,1073-1078。 | 34. | Tillmann, B.、Marmel, F.(2013)。Musical expectations within chord sequences: Facilitation due to tonal stability without closure effects。Psychomusicology: Music, Mind, and Brain,23,1-5。 | 35. | Tillmann, B.、Peretz, I.、Bigand, E.、Gosselin, N.(2007)。Harmonic priming in an amusic patient: The power of implicit tasks。Cognitive Neuropsychology,24,603-622。 | 36. | Trehub, S. E.、Becker, J.、Morley, I.(2015)。Cross-cultural perspectives on music and musicality。Philosophical Transactions of the Royal Society B,370。 | 37. | Van der Zwaag, M. D.、Westerink, J. H. D. M.、van den Broek, E. L.(2011)。Emotional and psychophysiological responses to tempo, mode, and percussiveness。Musicae Scientiae,15(2),250-269。 | 38. | Vuvan, D. T.、Schmuckler, M. A.(2011)。Tonal hierarchy representations in auditory imagery。Memory and Cognition,39,477-490。 | 39. | Wong, P. C. M.、Roy, A. K.、Margulis, E. H.(2009)。Bimusicalism: The implicit dual enculturation of cognitive and affective systems。Music Perception,27,81-88。 | 40. | Bradley, M. M.、Codispoti, M.、Cuthbert, B. N.、Lang, P. J.(2001)。Emotion and motivation I: Defensive and appetitive reactions in picture processing。Emotion,1(3),276-298。 | 會議論文1. | Paquette, S.、Gosselin, N.、Peretz, I.(2011)。Normal use of mode and tempo in emotional judgments by amusic adults。The Neurosciences and Music-IV Learning and Memory Meeting。Edinburgh, UK。 | 圖書1. | 伊·杜波夫斯基、斯·葉甫謝耶夫、伊·斯波索賓、符·索科洛夫、陳敏(2008)。和聲學教程。北京:人民音樂出版社。 延伸查詢 | 2. | 樊祖蔭(1999)。傳統大小調五聲性調式和聲寫作教程。北京:中國人民大學出版社。 延伸查詢 | 3. | 樊祖蔭(2003)。中國五聲性調式和聲的理論與方法。上海:上海音樂出版社。 延伸查詢 | 4. | 劉學嚴(1995)。中國五聲性調式和聲及風格手法。長春:時代文藝出版社。 延伸查詢 | 5. | 羅小平、黃虹(2008)。音樂心理學。上海:上海音樂學院出版社。 延伸查詢 | 6. | 黎英海(2001)。漢族調式及其和聲。上海:上海音樂出版社。 延伸查詢 | 7. | Patel, Aniruddh D.(2008)。Music, language, and the brain。Oxford University Press。 | 圖書論文1. | Gabrielsson, A.、Lindström, E.(2010)。The role of structure in the musical expression of emotions。Handbook of music and emotion: Theory, research, and applications。Oxford:Oxford University Press。 | 2. | Juslin, P. N.(2011)。Music and emotion: Seven questions, seven answers。Music and the mind: Essays in honour of John Sloboda。New York:Oxford University Press。 | 3. | Thompson, W. F.、Balkwill, L. L.(2010)。Cross-cultural similarities and differences。Music and emotion。Oxford:Oxford University Press。 | |
| |