Publications

Table of contents:

Recent Publications (2013-2020)

Gabrielsson, A. (in press). Introduktion till musikpsykologin [Introduction to music psychology]. Möklinta: Gidlunds förlag.

Juslin, P. N., Laukka, P., Harmat, L., & Ovsiannikow, M. (in press). Spontaneous vocal expressions from everyday life convey discrete emotions to listeners. Emotion.

Barradas, G. T., Juslin, P. N., & Badia, S. B. (2020). Emotional reactions to music in listeners suffering from dementia and healthy controls: Differential responding depends on the induction mechanism. Manuscript in preparation.

Juslin, P. N., Barradas, G. T., Sakka, L. S., & Lartillot, O. (2020). “Different strokes for different folks”: An idiographic approach to analyzing emotional reactions to music. Manuscript in preparation.

Juslin, P. N., Danielsson, J., & Ingmar, E. (2020). Aesthetic judgments of music: Reliability, criteria, self insight, and musical expertise. Manuscript submitted for publication.

Sakka, L. S., & Saarikallio, S. (2020). Spontaneous music-evoked autobiographical memories in individuals experiencing depression. Manuscript submitted for publication.

Barradas, G. T. (2019). Understanding nostalgia and sadness in fado music: A qualitative approach to the psychological mechanisms underlying musical emotions. In A. Ferreira Corrêa (Ed), Music, speech, and mind (pp. 111-141). Rio de Janeiro, Brazil: Brazilian Association of Cognition and Musical Arts.

Barradas, G. T., & Sakka, L. S. (2019). When words matter: Lyrics and their relationship to musical emotions in Portugal and Sweden. Manuscript submitted for publication.

Juslin, P. N. (2019). Musical emotions explained: Unlocking the secrets of musical affect. New York: Oxford University Press.

Juslin, P. N., & Liljeström, S. (2019). Emotional reactions to music: Mechanisms and modularity. In A. Ferreira Corrêa (Ed.), Music, speech, and mind (pp. 17-51). Rio de Janeiro, Brazil: Brazilian Association of Cognition and Musical Arts.

Juslin, P. N., & Sakka, L. S. (2019). Neural correlates of music and emotion. In M. H. Thaut & D. A. Hodges (Eds.), The Oxford handbook of music and the brain (pp. 285-332). New York: Oxford University Press.

Juslin, P. N., Harmat, L., & Laukka, P. (2018). The wisdom of the body: Listeners’ autonomic arousal distinguishes between spontaneous and posed vocal emotions. Scandinavian Journal of Psychology, 59, 105-112.

Juslin, P. N., Laukka, P., & Bänziger, T. (2018). The mirror to our soul? A comparison of spontaneous and posed vocal expression of emotion. Journal of Nonverbal Behavior, 42, 1-40.

Sakka, L. S. (2018). Affective responses to music in depressed individuals: Aesthetic judgments, emotions, and the impact of music-evoked autobiographical memories. Digital Comprehensive Summaries of Uppsala Dissertations from the Faculty of Social Sciences 151. Uppsala: Acta Universitatis Upsaliensis.

Sakka, L. S., & Juslin, P. N. (2018). Emotional reactions to music in depressed individuals. Psychology of Music, 46, 862-880.

Sakka, L. S., & Juslin, P. N. (2018). Emotion regulation with music in depressed and non-depressed individuals: Goals, strategies, and mechanisms. Music & Science, 1, 1-12. doi: 10.1177/2059204318755023

Barradas, G. T. (2017). A cross-cultural approach to the mechanisms underlying emotional reactions to music. Digital Comprehensive Summaries of Uppsala Dissertations from the Faculty of Social Sciences 137. Uppsala: Acta Universitatis Upsaliensis.

Juslin, P. N. (2017). Röstens fejkade och äkta känslouttryck. Psykologtidningen, 6, 30-33.

Gabrielsson, A. (2016). The relationship between musical structure and perceived expression. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 215-232). New York: Oxford University Press.

Gabrielsson, A., Whaley, J., & Sloboda, J. A. (2016). Peak experiences with music. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 745-758). New York: Oxford University Press.

Helsing, M., Västfjäll, D., Bjälkebring, P., Juslin, P. N., & Hartig, T. (2016). An experimental field study of the effects of listening to self-chosen music on emotions, stress, and cortisol levels. Music and Medicine, 8, 187-198.

Juslin, P. N. (2016). Emotional reactions to music. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 197-213). New York: Oxford University Press.

Juslin, P. N., Barradas, G. T., Ovsiannikow, M., Limmo, J., & Thompson, W. F. (2016). Prevalence of emotions, mechanisms, and motives in music listening: A comparison of individualist and collectivist cultures. Psychomusicology: Music, Mind, and Brain, 26, 293-326.

Juslin, P. N., & Lindström, E. (2016). Emotion in music performance. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 597-613). New York: Oxford University Press.

Juslin, P. N., Sakka, L. S., Barradas, G. T., & Liljeström, S. (2016). No accounting for taste? Idiographic models of aesthetic judgment in music. Psychology of Aesthetics, Creativity, and the Arts, 10, 157-170.

Juslin, P. N. (2015). Resilience: mediated not by one, but many appraisal mechanisms. Behavioral and Brain Sciences, 38, 33-34.

Juslin, P. N. (2015). Därför väcker musik känslor. Psykologtidningen, 9-10, 26-29.

Juslin, P. N., Barradas, G., & Eerola, T. (2015). From sound to significance: Exploring the mechanisms underlying emotional reactions to music. American Journal of Psychology, 128, 281-304.

Juslin, P. N. (2014). Music and emotion: There is more to music than meets the ear. Emotion Researcher. http://emotionresearcher.com/music-and-emotion-there-is-more-to-music-than-meets-the-ear/

Juslin, P. N., Harmat, L., & Eerola, T. (2014). What makes music emotionally significant? Exploring the underlying mechanisms. Psychology of Music, 42, 599-623.

Juslin, P. N, & Isaksson, S. (2014). Subjective criteria for choice and aesthetic value of music: A comparison of psychology and music students. Research Studies in Music Education, 36, 179-198.

Juslin, P. N. (2013). From everyday emotions to aesthetic emotions: Toward a unified theory of musical emotions. Physics of Life Reviews, 10, 235-266.

Juslin, P. N. (2013). Vocal expression of affect: Promises and problems. In E. Altenmüller, S. Schmidt, & E. Zimmerman (Eds.), Evolution of emotional communication (pp. 252-273). New York: Oxford University Press.

Juslin, P. N. (2013). What does music express? Basic emotions and beyond. Frontiers in Psychology: Emotion Science, 4, 596.

Juslin, P. N. (2013). Reply to the commentaries on ‘a unified theory of musical emotions’: The value of a uniquely psychological approach to musical aesthetics. Physics of Life Reviews, 10, 281-286.

Juslin, P. N., & Sloboda, J. A. (2013). Music and emotion. In D. Deutsch (Ed.), The psychology of music (3rd ed., pp. 583-645). Amsterdam, The Netherlands: Elsevier.

Kantrowitz, J. T., Leitman, D. I., Lehrfeld, J. M., Laukka, P., Juslin, P. N., Butler, P. D., Silipo, G., & Javitt, D. C. (2013). Reduction in tonal discriminations predicts receptive emotion processing deficits in schizophrenia and schizoaffective disorder. Schizophrenia Bulletin, 39, 86-93.

Liljeström, S., Juslin, P. N., & Västfjäll, D. (2013). Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music. Psychology of Music, 41, 577-597.

Publications (1994-2020)

B

Baars, G. & Gabrielsson, A. (1997). Emotional expression in singing: A case study. In A. Gabrielsson (Ed.), Proceedings of The Third Triennial ESCOM Conference, Uppsala, 7-12 June 1997 (pp. 479-483). Uppsala, Sweden: Uppsala University, Department of Psychology.

Barradas, G. T. (2019). Understanding nostalgia and sadness in fado music: A qualitative approach to the psychological mechanisms underlying musical emotions. In A. Ferreira Corrêa (Ed), Music, speech, and mind (pp. 111-141). Rio de Janeiro, Brazil: Brazilian Association of Cognition and Musical Arts.

Barradas, G. T. (2017). A cross-cultural approach to the mechanisms underlying emotional reactions to music. Digital Comprehensive Summaries of Uppsala Dissertations from the Faculty of Social Sciences 137. Uppsala: Acta Universitatis Upsaliensis.

Barradas, G. T., Juslin, P. N., & Badia, S. B. (2020). Emotional reactions to music in listeners suffering from dementia and healthy controls: Differential responding depends on induction mechanism. Manuscript in preparation.

Barradas, G. T., & Sakka, L. S. (2020). When words matter: Lyrics and their relationship to musical emotions in Portugal and Sweden. Manuscript submitted for publication.

Bergman, D. & Gabrielsson, A. (1997). Children's judments of structural patterns and emotional expression in music. In A. Gabrielsson (Ed.), Proceedings of The Third Triennial ESCOM Conference, Uppsala, 7-12 June 1997 (pp. 430-434). Uppsala, Sweden: Uppsala University, Department of Psychology.

C

Camurri, A., Lagerlöf, I., & Volpe, G. (2003). Recognizing emotion from dance movement: Comparison of spectator recognition and automated techniques. International Journal of Human-Computer Studies, 59, 213-225.

D

Dry, A. & Gabrielsson, A. (1997). Emotional expression in guitar band performance. In A. Gabrielsson (Ed.), Proceedings of The Third Triennial ESCOM Conference, Uppsala, 7-12 June 1997 (pp. 475-478). Uppsala, Sweden: Uppsala University, Department of Psychology.

E

Ericson, G. (1996). Assessment of school children's performance in dance. Acta Universitatis Upsaliensis, Studia Psychologica Upsaliensia, No. 16. Uppsala, Sweden: Uppsala University. (Doctoral dissertation)

Ericson, G. (1997). Is it possible to scientifically study children's dance? In E. Anttila (Ed.), Proceedings of the Seventh International Dance and the Child Conference (pp. 102-111). Kuopio, Finland: IDCC.

Ericson, G. (1997). How to assess schoolchildren's performance in dance. In A. Gabrielsson (Ed.), Proceedings of The Third Triennial ESCOM Conference (pp. 571-576). Uppsala, Sweden: Uppsala University, Department of Psychology.

F

Forsell, M., Elenius, K., & Laukka, P. (2007). Acoustic correlates of frustration in spontaneous speech. Speech, Music and Hearing: Quarterly Progress and Status Report (TMH-QPSR), 50, 37-40.

Frank, M. G., Juslin, P. N., & Harrigan, J. A. (2005). Technical issues in recording nonverbal behavior. In J. A. Harrigan, R. Rosenthal, & K. R. Scherer (Eds.), The new handbook of methods in nonverbal behavior research (pp. 449-470). New York: Oxford University Press.

Friberg, A., Schoonderwaldt, E., & Juslin, P. N. (2007). CUEX: An algorithm for automatic extraction of expressive tone parameters in music performance from acoustic signals. Acta Acustica United with Acustica, 93, 411-420.

Friberg, A., Schoonderwaldt, E., Juslin, P. N., & Bresin, R. (2002). Automatic real-time extraction of musical expression. In Proceedings of the International Computer Music Conference, Göteborg, 16-21 September 2002 (pp. 365-367). San Fransisco, CA: International Computer Music Association.

G

Gabrielsson, A. (1996). Acoustic correlates of emotionally expressive music. Journal of the Acoustical Society of America, 100, 2778.

Gabrielsson, A. (Ed.) (1997). Proceedings of The Third Triennial ESCOM Conference, Uppsala, 7-12 June 1997. Uppsala: Uppsala University, Department of Psychology.

Gabrielsson, A. (1997). Varieties of music experience. In A. Gabrielsson (Ed.), Proceedings of The Third Triennial ESCOM Conference, Uppsala, 7-12 June 1997 (pp. 650-654). Uppsala: Uppsala University, Department of Psychology.

Gabrielsson, A. (1998). Verbal description of music experience. In S. W. Yi (Ed.), Proceedings of the Fifth International Conference on Music Perception and Cognition (pp. 271-276). Seoul, Korea: Seoul National University.

Gabrielsson, A. (1998). Estudios sobre expression emocional en la ejecucion musical. In S. Malbrán (Ed.), Proceedings of 2da Conferencia Iberoamericana de Investigación Musical (pp. 13-15). Buenos Aires: Universidad Nacional de Lanus.

Gabrielsson, A. (1999). The performance of music. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 501-602). New York: Academic Press.

Gabrielsson, A. (1999). Musicality, music performance, and music experience. Council for Research in Music Education, Bulletin, 140, 15-16.

Gabrielsson, A. (1999). Studying emotional expression in music performance. Council for Research in Music Education, Bulletin, 141, 47-53.

Gabrielsson, A. (1999). Musikpsykologi - vad är det? Musikliv, Våren 1999, 8-13.

Gabrielsson, A. (2000). Psychology of music. History 1860-1960. In S. Sadie (Ed.), The new Grove dictionary of music and musicians. London: MacMillan.

Gabrielsson, A. (2000). Some reflections on musical testing. In W. Jankowski, B. Kaminska, & A. Miskiewicz (Eds.), Czlowiek - muzyka - psychologia. Festschrift for Maria Manturzewska (pp. 275-284). Warsaw: Chopin Academy of Music.

Gabrielsson, A. (2001). Emotions in strong experiences with music. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 431-449). New York: Oxford University Press.

Gabrielsson, A. (2002). Emotion perceived and emotion felt: Same or different? Musicae Scientiae, Special Issue 2001-2002, 123-147.

Gabrielsson, A. (2002). Om uttryck i musik. I S. E. Holgersen, K. Fink-Jensen, H. Jørgensen, & B. Olsson (Eds.), Musikpædagogiske refleksioner. Festskrift till Frede V. Nielsen 60 år (pp. 211-220). Köpenhamn: Danmarks Pædagogiska Universitet.

Gabrielsson, A. (2002). Expression, communication, musicality. In K. Stevens et al. (Eds.), Proceedings of the 7th International Conference on Music Perception and Cognition, Sydney, 2002 (pp. 153-156). Adelaide: Causal Productions.

Gabrielsson, A. (2002). Old people's remembrance of strong experiences related to music. Psychomusicology, 18, 103-122.

Gabrielsson, A. (2002). Some reflections on links between music psychology and music education. In I. M. Hanken, S. Graabræk Nielsen, & M. Nerland (Eds.), Research in and for higher music education. Festschrift for Harald Jørgensen (pp. 77-86). Oslo, Norway: Norges musikkhøgskole.

Gabrielsson, A. (2003). Music performance research at the millennium. Psychology of Music, 31, 221-272.

Gabrielsson, A. (2003). Reflektioner kring förhållandet mellan musikestetik och musikpsykologi. Nordisk Estetisk Tidskrift, 27/28, 40-51.

Gabrielsson, A. (2005). Aspekte expressiver Gestaltung musikalischer Aufführungen. In T. S. Stoffer & R. Oerter (Eds.), Enzyklopädie der Psychologie. Musikpsychologie Bd 1. Allgemeine Musikpsychologie: Allgemeinpsychologische Grundlagen musikalischen Handels (pp. 843-875). Göttingen: Hogrefe.

Gabrielsson, A. (2005). Starka musikupplevelser. SR Berwaldhallen, September 2005, 4-5. Stockholm: Sveriges Radio.

Gabrielsson, A. (2006). Musicality, music performance and music experience. In K. Gfeller, D. D.Coffman, C. X. Rodriguez, & D. J. Nelson (Eds.), Multidisciplinary perspectives on musicality: Essays from the Seashore Symposium (pp 30-39). Iowa City: University of Iowa, School of Music.

Gabrielsson, A. (2006). Strong experiences elicited by music - What music? In P. Locher, C. Martindale, & L. Dorfman (Eds.), New directions in aesthetics, creativity, and the psychology of art (pp. 251-267). Amityville, NY: Baywood Publishing Company.

Gabrielsson, A. (2006). Individuella starka musikupplevelser. In G. Hermerén (Ed.), Konsterna och själen. Estetik ur ett humanvetenskapligt perspektiv (pp. 107-117) . Stockholm: Kungliga Vitterhets, Historie och Antikvitets Akademien.

Gabrielsson, A. (2006). Struktur och känslor i musik - några musikpsykologiska reflektioner (I). Nutida Musik, 49, 24-30.

Gabrielsson, A. (2006). Struktur och känslor i musik - några musikpsykologiska reflektioner (II). Nutida Musik, 49, 72-73.

Gabrielsson, A. (2008). Starka musikupplevelser: Musik är mycket mer än bara musik. Hedemora, Sweden: Gidlunds förlag.

Gabrielsson, A. (2009). My marriage with music psychology. Psychomusicology, 20, 64-73.

Gabrielsson, A. (2009). The relationship between musical structure and perceived expression. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (pp. 141-150). New York: Oxford University Press.

Gabrielsson, A. (2010). Strong experiences with music. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 547-574). New York: Oxford University Press.

Gabrielsson, A. (2011). How do strong experiences with music relate to experiences in everyday listening to music? In I. Deliège & J. W. Davidson (Eds.), Music and the mind. Essays in honour of John Sloboda (pp. 91-110). New York: Oxford University Press.

Gabrielsson, A. (2011). Strong experiences with music - Music is much more than just music. New York: Oxford University Press.

Gabrielsson, A. (2016). The relationship between musical structure and perceived expression. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 215-232). New York: Oxford University Press.

Gabrielsson, A. (in press). Introduktion till musikpsykologin [Introduction to music psychology]. Möklinta: Gidlunds förlag.

Gabrielsson, A., & Juslin, P. N. (1996). Emotional expression in music per formance: Between the performer's intention and the listener's experience. Psychology of Music, 24, 68-91.

Gabrielsson, A., & Juslin, P. N. (2003). Emotional expression in music. In R. J. Davidson, K. R. Scherer, & H. H. Goldsmith (Eds.), Handbook of affective sciences (pp. 503-534). New York: Oxford University Press.

Gabrielsson, A., Juslin, P. N., & Lindström, E. (1994). Expressive intention governs music performance. In I. Deliége (Ed.), Proceedings of the Third International Conference for Music Perception and Cognition (pp. 19-20). Liège, Belgium: University of Liège.

Gabrielsson, A., & Lindström, E. (2001). The influence of musical structure on emotional expression. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 223-248). New York: Oxford University Press.

Gabrielsson, A., & Lindström, E. (2010). The role of structure in the musical expression of emotions. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 367-400). New York: Oxford University Press.

Gabrielsson, A., & Lindström Wik, S. (2000). Strong experiences of and with music. In D. Greer (Ed.), Musicology and sister disciplines: Past, present and future (pp. 100-108). New York: Oxford University Press.

Gabrielsson, A., & Lindström Wik, S. (2003). Strong experiences related to music: A descriptive system. Musicae Scientiae, 7, 157-217.

Gabrielsson, A., Whaley, J., & Sloboda, J. A. (2016). Peak experiences with music. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 745-758). New York: Oxford University Press.

Gabrielsson, A., & Örnkloo, H. (2002). Children's perception and performance of emotion in singing and speech. In Proceedings of the Tenth International Conference of the Early Childhood Commission of the International Society for Music Education, 5-9 August 2002, Copenhagen (pp. 75-79). Copenhagen: ISME.

Gold, R., Butler, P., Revheim, N., Leitman, D. I., Hansen, J. A., Gur, R. C., Kantrowitz, J. T., Laukka, P., Juslin, P. N., Silipo, G. S., & Javitt, D. C. (2012). Auditory emotion recognition impairments in schizophrenia: Relationship to acoustic features and cognition. American Journal of Psychiatry, 169, 424-432.

H

Helsing, M., Västfjäll, D., Bjälkebring, P., Juslin, P. N., & Hartig, T. (2016). An experimental field study of the effects of listening to self-chosen music on emotions, stress, and cortisol levels. Music and Medicine, 8, 187-198.

Helsing, M., Västfjäll, D., Juslin, P. N, & Hartig, T. (2014). Perceived stress, health, and everyday music listening. Manuscript submitted for publication.

Helsing, M., Västfjäll, D., Juslin, P. N., & Hartig, T. (2018). A Day Reconstruction Method study of musical emotion in everyday life. Manuscript submitted for publication.

Helsing, M., Västfjäll, D., Juslin, P. N., & Hartig, T. (2018). Associations between personality and emotional responses to music. Manuscript submitted for publication.

J

Juslin, P. N. (1994). Är din dator intelligent? En snabborientering i artificiell intelligens. Ung Forskning, 4, 52-56.

Juslin, P. N. (1996). Affective computing: Jakten på den förlorade känslomässiga dimensionen i samspelet mellan människa och dator. Ung Forskning, 4, 60-64.

Juslin, P. N. (1997). Emotional communication in music performance: A functionalist perspective and some data. Music Perception, 14, 383-418.

Juslin, P. N. (1997). Perceived emotional expression in synthesized performances of a short melody: Capturing the listener's judgment policy. Musicae Scientiae, 1, 225-256.

Juslin, P. N. (1997). How can music performers become better at communicating emotions to listeners? In A. Gabrielsson (Ed.), Proceedings of the Third Triennial ESCOM Conference (pp. 493-498). Uppsala, Sweden: Uppsala University.

Juslin, P. N. (1997). Can results from studies of perceived expression in musical performances be generalized across response formats? Psychomusicology, 16, 77-101.

Juslin, P. N. (1998). How to improve emotional communication in music performance. In S. W. Yi (Ed.), Proceedings of the Fifth International Conference on Music Perception and Cognition (pp. 387-392). Seoul, Korea: Seoul National University.

Juslin, P. N. (1998). A functionalist perspective on emotional communication in music performance. Comprehensive Summaries of Uppsala Dissertations from the Faculty of Social Sciences 78. Uppsala: Acta Universitatis Upsaliensis.

Juslin, P. N. (2000). Cue utilization in communication of emotion in music performance: Relating performance to perception. Journal of Experimental Psychology: Human Perception and Performance, 26, 1797-1813.

Juslin, P. N. (2001). A Brunswikian approach to emotional communication in music performance. In K. R. Hammond & T. R. Stewart (Eds.), The essential Brunswik: Beginnings, explications, applications (pp. 426-430). New York: Oxford University Press.

Juslin, P. N. (2001). Communicating emotion in music performance: A review and a theoretical framework. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 309-337). New York: Oxford University Press.

Juslin, P. N. (2003). Five facets of musical expression: A psychologist's perspective on music performance. Psychology of Music, 31, 273-302.

Juslin, P. N. (2003). Studies of music performance: A theoretical analysis of empirical findings. In R. Bresin (Ed.), Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (pp. 513-516). Stockholm: Royal Institute of Technology.

Juslin, P. N. (2004). Computer feedback in musical communication of emotions: The Feel-ME program. In J. P. Frois, P. Andrade, & J. F. Marques (Eds.), Art and science: Proceedings of the 18th Congress of the International Association of Empirical Aesthetics, September 2004 (pp. 550-554). Lisbon, Portugal: IAEA.

Juslin, P. N. (2004). Vocal expression and musical expression: Parallels and contrasts. In A. Kappas (Ed.), ISRE 2000: Proceedings of the 11th Meeting of the International Society for Research on Emotions, Quebec City, August 2000 (pp. 281-284). Amsterdam: ISRE publications.

Juslin, P. N. (2005). From mimesis to catharsis: expression, perception, and induction of emotion in music. In D. Miell, R. MacDonald, & D. J. Hargreaves (Eds.), Musical communication (pp. 85-115). New York: Oxford University Press.

Juslin, P. N. (2008). Musik och känslor: Dina musikupplevelser berättar vem du är. Biz & Art, 4, 40-44.

Juslin, P. N. (2009). Emotional responses to music. In S. Hallam, I. Cross, & M. Thaut (Eds.), Oxford handbook of music psychology (pp. 131-140). New York: Oxford University Press.

Juslin, P. N. (2009). Emotion in music performance. In S. Hallam, I. Cross, & M. Thaut (Eds.), Oxford handbook of music psychology (pp. 377-389). New York: Oxford University Press.

Juslin, P. N. (2009). Music (emotional effects). In D. Sander & K. R. Scherer (Eds.), The Oxford companion to emotion and the affective sciences (pp. 269-271). New York: Oxford University Press.

Juslin, P. N. (2009). Sound of music: Seven ways in which the brain can evoke emotions from sound. In F. Mossberg (Ed.), Sound, mind, and emotion. Report No. 8 from the Sound Environment Centre at Lund University (pp. 11-41). Lund: Sound Environment Centre.

Juslin, P. N. (2011). Music and emotion: Seven questions, seven answers. In I. Deliège & J. Davidson (Eds.), Music and the mind: Essays in honour of John Sloboda (pp. 113-135). New York: Oxford University Press.

Juslin, P. N. (2012). Are musical emotions invariant across cultures? Emotion Review, 4, 283-284.

Juslin, P. N. (2013). Vocal expression of affect: Promises and problems. In E. Altenmüller, S. Schmidt, & E. Zimmerman (Eds.), Evolution of emotional communication: From sounds in nonhuman mammals to speech and music in man (pp. 252-273). New York: Oxford University Press.

Juslin, P. N. (2013). From everyday emotions to aesthetic emotions: Toward a unified theory of musical emotions. Physics of Life Reviews, 10, 235-266.

Juslin, P. N. (2013). What does music express? Basic emotions and beyond. Frontiers in Psychology: Emotion Science, 4, 596.

Juslin, P. N. (2013). Reply to the commentaries on ‘a unified theory of musical emotions’: The value of a uniquely psychological approach to musical aesthetics. Physics of Life Reviews, 10, 281-286.

Juslin, P. N. (2014). Music and emotion: There is more to music than meets the ear. Emotion Researcher. http://emotionresearcher.com/music-and-emotion-there-is-more-to-music-than-meets-the-ear/

Juslin, P. N. (2015). Resilience: mediated not by one, but many appraisal mechanisms. Behavioral and Brain Sciences, 38, 33-34.

Juslin, P. N. (2015). Därför väcker musik känslor. Psykologtidningen, 9-10, 26-29.

Juslin, P. N. (2016). Emotional reactions to music. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 197-213). New York: Oxford University Press.

Juslin, P. N. (2017). Röstens fejkade och äkta känslouttryck. Psykologtidningen, 6, 30-33.

Juslin, P. N. (2019). Musical emotions explained: Unlocking the secrets of musical affect. New York: Oxford University Press.

Juslin, P. N. (2020). Real-world testing of appraisal theory predictions: An experience sampling study. Manuscript submitted for publication.

Juslin, P. N., & Bänziger, T. (2009). Brunswikian lens model. In D. Sander & K. R. Scherer (Eds.), The Oxford companion to emotion and the affective sciences (pp. 80-81). New York: Oxford University Press.

Juslin, P. N., Barradas, G., & Eerola, T. (2015). From sound to significance: Exploring the mechanisms underlying emotional reactions to music. American Journal of Psychology, 128, 281-304.

Juslin, P. N., Barradas, G. T., Ovsiannikow, M., Limmo, J., & Thompson, W. F. (2016). Prevalence of emotions, mechanisms, and motives in music listening: A comparison of individualist and collectivist cultures. Psychomusicology: Music, Mind, and Brain, 26, 293-326.

Juslin, P. N., Barradas, G. T., Sakka, L. S., & Lartillot, O. (2020). “Different strokes for different folks”: An idiographic approach to analyzing emotional reactions to music. Manuscript in preparation.

Juslin, P. N., Danielsson, J., & Ingmar, E. (2020). Aesthetic judgments of music: Reliability, criteria, self insight, and musical expertise. Manuscript submitted for publication.

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Juslin, P. N., Friberg, A., Schoonderwaldt, E., & Karlsson, J. (2004). Feedback-learning of musical expressivity. In A. Williamon (Ed.), Musical excellence: Strategies and techniques to enhance performance (pp. 247-270). New York: Oxford University press.

Juslin, P. N., Harmat, L., & Eerola, T. (2014). What makes music emotionally significant? Exploring the underlying mechanisms. Psychology of Music, 42, 599-623.

Juslin, P. N., Harmat, L., & Laukka, P. (2018). The wisdom of the body: Listeners’ autonomic arousal distinguishes between spontaneous and posed vocal emotions. Scandinavian Journal of Psychology, 59, 105-112.

Juslin, P. N, & Isaksson, S. (2014). Subjective criteria for choice and aesthetic value of music: A comparison of psychology and music students. Research Studies in Music Education, 36, 179-198.

Juslin, P. N., Karlsson, J., Lindström, E., Friberg, A., & Schoonderwaldt, E. (2006). Play it again with feeling: Computer feedback in musical communication of emotions. Journal of Experimental Psychology: Applied, 12, 79-95.

Juslin, P. N., & Laukka, P. (2000). Improving emotional communication in music performance through cognitive feedback. Musicae Scientiae, 4, 151-183.

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Juslin, P. N., & Laukka, P. (2003). Communication of emotions in vocal expression and music performance: Different channels, same code? Psychological Bulletin, 129, 770-814.

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Juslin, P. N., Laukka, P., & Bänziger, T. (2018). The mirror to our soul? A comparison of spontaneous and posed vocal expression of emotion. Journal of Nonverbal Behavior, 42, 1-40

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Juslin, P. N., Liljeström, S., Laukka, P., Västfjäll, D., & Lundqvist, L.-O. (2011). Emotional reactions to music in a nationally representative sample of Swedish adults: Prevalence and causal influences. Musicae Scientiae, 15, 174-207. (Special Issue on Music and Emotion)

Juslin, P. N., Liljeström, S., Västfjäll, D., Barradas, G., & Silva, A. (2008). An experience sampling study of emotional reactions to music: Listener, music, and situation. Emotion, 8, 668-683.

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Juslin, P. N., & Lindström, E. (2010). Musical expression of emotions: Modeling listeners' judgments of composed and performed features. Music Analysis, 29, 334-364. (Special Issue on Music and Emotion)

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