Jonna Vuoskoski

• Alluri, Vinoo; Mittal, Anant; SC, Azhagammal; Vuoskoski, Jonna Katariina & Saarikallio, Suvi H. (2022). Maladaptive music listening strategies are modulated by individual traits. Psychology of Music. ISSN 0305-7356. doi: 10.1177/03057356211065061.
• Vuoskoski, Jonna Katariina; Zickfeld, Janis Heinrich; Alluri, Vinoo; Moorthigari, Vishnu & Seibt, Beate (2022). Feeling moved by music: Investigating continuous ratings and acoustic correlates. PLOS ONE. ISSN 1932-6203. 17(1). doi: 10.1371/journal.pone.0261151. Full text in Research Archive
• Eerola, Tuomas; Vuoskoski, Jonna K.; Kautiainen, Hannu; Peltola, Henna-Riikka; Putkinen, Vesa & Schäfer, Katharina (2021). Being moved by listening to unfamiliar sad music induces reward-related hormonal changes in empathic listeners. Annals of the New York Academy of Sciences. ISSN 0077-8923. 1502(1), p. 121–131. doi: 10.1111/nyas.14660. Full text in Research Archive
• Swarbrick, Dana; Seibt, Christa Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina (2021). Corona Concerts: The Effect of Virtual Concert Characteristics on Social Connection and Kama Muta. Frontiers in Psychology. ISSN 1664-1078. doi: 10.3389/fpsyg.2021.648448. Show summary

  The popularity of virtual concerts increased as a result of the social distancing requirements of the coronavirus pandemic. We aimed to examine how the characteristics of virtual concerts and the characteristics of the participants influenced their experiences of social connection and kama muta (often labeled “being moved”). We hypothesized that concert liveness and the salience of the coronavirus would influence social connection and kama muta. We collected survey responses on a variety of concert and personal characteristics from 307 participants from 13 countries across 4 continents. We operationalized social connection as a combination of feelings and behaviors and kama muta was measured using the short kama muta scale (Zickfeld et al., 2019). We found that (1) social connection and kama muta were related and predicted by empathic concern, (2) live concerts produced more social connection, but not kama muta, than pre-recorded concerts, and (3) the salience of the coronavirus during concerts predicted kama muta and this effect was completely mediated by social connection. Exploratory analyses also examined the influence of social and physical presence, motivations for concert attendance, and predictors of donations. This research contributes to the understanding of how people can connect socially and emotionally in virtual environments.

• Hansen, Niels Chr.; Treider, John Melvin Gudnyson; Swarbrick, Dana; Bamford, Joshua S.; Wilson, Johanna & Vuoskoski, Jonna Katariina (2021). A Crowd-Sourced Database of Coronamusic: Documenting Online Making and Sharing of Music During the COVID-19 Pandemic. Frontiers in Psychology. ISSN 1664-1078. doi: 10.3389/fpsyg.2021.684083. Show summary

  When a sweeping COVID-19 pandemic forced cultural venues, schools, and social hangouts into hibernation in early 2020, music life relocated to the digital world. On social media platforms like YouTube, Facebook, Twitter, and TikTok, sofas and balconies took center stage for musical performances presented as live-streamed concerts and recorded videos. Amateurs and professional musicians alike embraced digital formats and innovated novel genres of corona-themed music. Adapting the well-known “musicking” term from cultural musicology (Small, 1999), we will characterize the diverse practices of listening to, playing, dancing to, composing, rehearsing, improvising, discussing, exploring, and innovating musical products during lockdown with explicit or implicit reference to the novel coronavirus and/or pandemic life circumstances as “corona-musicking.” By extension, audiovisual products of such corona-musicking behavior will be defined collectively as “coronamusic.” To best facilitate future work, these definitions are intentionally broad and minimally exclusive (cf. Small, 1999). This study aims to establish the CORONAMUSIC DATABASE–a crowdsourced corpus of links to coronamusic videos and news media reports (https://osf.io/y7z28/). This constitutes the first readily accessible and searchable resource for researchers from all disciplines with an interest in documenting and investigating the musical dynamics underlying the pandemic.

• Onderdijk, Kelsey; Swarbrick, Dana; Van Kerrebroeck, Bavo; Mantei, Maximillian; Vuoskoski, Jonna Katariina & Maes, Pieter-Jan [Show all 7 contributors for this article] (2021). Livestream Experiments: The Role of COVID-19, Agency, Presence, and Social Context in Facilitating Social Connectedness. Frontiers in Psychology. ISSN 1664-1078. 12. doi: 10.3389/fpsyg.2021.647929. Show summary

  Musical life became disrupted in 2020 due to the COVID-19 pandemic. Many musicians and venues turned to online alternatives, such as livestreaming. In this study, three livestreamed concerts were organized to examine separate, yet interconnected concepts—agency, presence, and social context—to ascertain which components of livestreamed concerts facilitate social connectedness. Hierarchical Bayesian modeling was conducted on 83 complete responses to examine the effects of the manipulations on feelings of social connectedness with the artist and the audience. Results showed that in concert 1, where half of the participants were allowed to vote for the final song to be played, this option did not result in the experience of more agency. Instead, if their preferred song was played (regardless of voting ability) participants experienced greater connectedness to the artist. In concert 2, participants who attended the concert with virtual reality headsets experienced greater feelings of physical presence, as well as greater feelings of connectedness with the artist, than those that viewed a normal YouTube livestream. In concert 3, attendance through Zoom led to greater experience of social presence, but predicted less connectedness with the artist, compared to a normal YouTube livestream. Crucially, a greater negative impact of COVID-19 (e.g., loneliness) predicted feelings of connectedness with the artist, possibly because participants fulfilled their social needs with this parasocial interaction. Examining data from all concerts suggested that physical presence was a predictor of connectedness with both the artist and the audience, while social presence only predicted connectedness with the audience. Correlational analyses revealed that reductions in loneliness and isolation were associated with feelings of shared agency, physical and social presence, and connectedness to the audience. Overall, the findings suggest that in order to reduce feelings of loneliness and increase connectedness, concert organizers and musicians could tune elements of their livestreams to facilitate feelings of physical and social presence.

• Granot, Roni; Spitz, Daniel H.; Cherki, Boaz R.; Loui, Psyche; Timmers, Renee & Schaefer, Rebecca S. [Show all 8 contributors for this article] (2021). “Help! I Need Somebody”: Music as a Global Resource for Obtaining Wellbeing Goals in Times of Crisis. Frontiers in Psychology. ISSN 1664-1078. doi: 10.3389/fpsyg.2021.648013. Full text in Research Archive
• Zickfeld, Janis Heinrich; van de Ven, Niels; Pich, Olivia; Schubert, Thomas; Vuoskoski, Jonna Katariina & Vingerhoets, Ad J.J.M. (2021). Tears evoke the intention to offer social support: A systematic investigation of the interpersonal effects of emotional crying across 41 countries. Journal of Experimental Social Psychology. ISSN 0022-1031. doi: 10.1016/j.jesp.2021.104137. Full text in Research Archive
• Peltola, Henna-Riikka & Vuoskoski, Jonna Katariina (2021). “I hate this part right here”: Embodied, subjective experiences of listening to aversive music. Psychology of Music. ISSN 0305-7356. 50(1), p. 159–174. doi: 10.1177/0305735620988596. Full text in Research Archive
• Zelechowska, Agata; Gonzalez Sanchez, Victor Evaristo; Laeng, Bruno; Vuoskoski, Jonna Katariina & Jensenius, Alexander Refsum (2020). Who Moves to Music? Empathic Concern Predicts Spontaneous Movement Responses to Rhythm and Music. Music & Science. ISSN 2059-2043. 3. doi: 10.1177/2059204320974216. Full text in Research Archive Show summary

  Moving to music is a universal human phenomenon, and previous studies have shown that people move to music even when they try to stand still. However, are there individual differences when it comes to how much people spontaneously respond to music with body movement? This article reports on a motion capture study in which 34 participants were asked to stand in a neutral position while listening to short excerpts of rhythmic stimuli and electronic dance music. We explore whether personality and empathy measures, as well as different aspects of music-related behaviour and preferences, can predict the amount of spontaneous movement of the participants. Individual differences were measured using a set of questionnaires: Big Five Inventory, Interpersonal Reactivity Index, and Barcelona Music Reward Questionnaire. Liking ratings for the stimuli were also collected. The regression analyses show that Empathic Concern is a significant predictor of the observed spontaneous movement. We also found a relationship between empathy and the participants’ self-reported tendency to move to music.

• Thompson, Marc Richard & Vuoskoski, Jonna Katariina (2020). Music as embodied experience. Human Technology. ISSN 1795-6889. doi: 10.17011/ht/urn.202011256763. Full text in Research Archive
• Stupacher, Jan; Witek, Maria; Vuoskoski, Jonna Katariina & Vuust, Peter (2020). Cultural familiarity and individual musical taste differently affect social bonding when moving to music. Scientific Reports. ISSN 2045-2322. 10. doi: 10.1038/s41598-020-66529-1. Full text in Research Archive
• Huron, David & Vuoskoski, Jonna Katariina (2020). On the enjoyment of sad music: Pleasurable Compassion Theory and the role of trait empathy. Frontiers in Psychology. ISSN 1664-1078. doi: 10.3389/fpsyg.2020.01060. Full text in Research Archive
• Vuoskoski, Jonna Katariina & Reynolds, Dee (2019). Music, rowing, and the aesthetics of rhythm. The Senses & Society. ISSN 1745-8927. 14(1), p. 1–14. doi: 10.1080/17458927.2018.1525201. Full text in Research Archive
• Borregaard, Andreas; Vuoskoski, Jonna Katariina & Hawkins, Roddy (2018). Music, complexity, and embodiment in performance: a conversation with accordionist Andreas Borregaard. The Senses & Society. ISSN 1745-8927. 13(3), p. 335–345. doi: 10.1080/17458927.2018.1525200. Full text in Research Archive
• Eerola, Tuomas; Vuoskoski, Jonna Katariina; Peltola, Henna-Riikka; Putkinen, Vesa & Schäfer, Katharina (2018). Towards a more explicit account of the transformation: Reply to comments on "An integrative review of the enjoyment of sadness associated with music". Physics of Life Reviews. ISSN 1571-0645. p. 156–166. doi: 10.1016/j.plrev.2018.06.013. Full text in Research Archive
• Zickfeld, Janis Heinrich; Schubert, Thomas; Seibt, Beate; Blomster, Johanna Katarina; Arriaga, Patrícia & Basabe, Nekane [Show all 35 contributors for this article] (2018). Kama Muta: Conceptualizing and Measuring the Experience Often Labelled Being Moved Across 19 Nations and 15 Languages . Emotion. ISSN 1528-3542. 19(3), p. 402–424. doi: 10.1037/emo0000450. Full text in Research Archive
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2017). Explaining the enjoyment of negative emotions evoked by the arts: The need to consider empathy and other underlying mechanisms of emotion induction. Behavioral and Brain Sciences. ISSN 0140-525X. 40(e347). doi: 10.1017/S0140525X1700187X.
• Eerola, Tuomas; Vuoskoski, Jonna Katariina; Peltola, Henna-Riikka; Putkinen, Vesa & Schäfer, Katharina (2017). An integrative review of the enjoyment of sadness associated with music. Physics of Life Reviews. ISSN 1571-0645. 25, p. 100–121. doi: 10.1016/j.plrev.2017.11.016. Full text in Research Archive
• Miu, Andrei & Vuoskoski, Jonna Katariina (2017). The social side of music listening: Empathy and contagion in music-induced emotions, Music and Empathy. Routledge. ISSN 9781472445803. p. 124–138. doi: 10.4324/9781315596587-6.
• Vuoskoski, Jonna Katariina (2017). Musical preference: Personality, style, and music use. In Ashley, Richard D & Timmers, Renee (Ed.), The Routledge Companion to Music Cognition. Routledge. ISSN 9781138721050. p. 453–563.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2017). The pleasure evoked by sad music is mediated by feelings of being moved. Frontiers in Psychology. ISSN 1664-1078. 8(439). doi: 10.3389/fpsyg.2017.00439.
• Vuoskoski, Jonna Katariina; Thompson, Marc; Spence, Charles & Clarke, Eric F. (2016). Interaction of sight and sound in the perception and experience of musical performance. Music Perception. ISSN 0730-7829. 33(4), p. 457–471. doi: 10.1525/mp.2016.33.4.457.
• Vuoskoski, Jonna Katariina; Gatti, Elia; Spence, Charles & Clarke, Eric F. (2016). Do visual cues intensify the emotional responses evoked by musical performance? A psychophysiological investigation. Psychomusicology: Music, Mind & Brain. ISSN 0275-3987. 26(2), p. 179–188. doi: 10.1037/pmu0000142.
• Eerola, Tuomas; Vuoskoski, Jonna Katariina & Kautiainen, Hannu (2016). Being moved by unfamiliar sad music is associated with high empathy. Frontiers in Psychology. ISSN 1664-1078. 7(1176). doi: 10.3389/fpsyg.2016.01176.
• Vuoskoski, Jonna Katariina; Clarke, Eric F. & DeNora, Tia (2016). Music listening evokes implicit affiliation. Psychology of Music. ISSN 0305-7356. 45(4), p. 584–599. doi: 10.1177/0305735616680289.
• Vuoskoski, Jonna Katariina (2015). Music, Empathy, and Affiliation: Commentary on Greenberg, Rentfrow, and Baron-Cohen. Empirical Musicology Review. ISSN 1559-5749. 10(1), p. 99–102.
• Clarke, Eric F.; DeNora, Tia & Vuoskoski, Jonna Katariina (2015). Kinds, mechanisms, contents and origins of musical empathizing: Reply to comments on "Music, empathy, and cultural understanding". Physics of Life Reviews. ISSN 1571-0645. 15, p. 103–106. doi: 10.1016/j.plrev.2015.11.004.
• Eerola, Tuomas; Peltola, Henna-Riikka & Vuoskoski, Jonna Katariina (2015). Attitudes toward sad music are related to both preferential and contextual strategies. Psychomusicology: Music, Mind & Brain. ISSN 0275-3987. 25(2), p. 116–123. doi: 10.1037/pmu0000096.
• Clarke, Eric F.; DeNora, Tia & Vuoskoski, Jonna Katariina (2015). Music, empathy and cultural understanding. Physics of Life Reviews. ISSN 1571-0645. 15, p. 61–88. doi: 10.1016/j.plrev.2015.09.001.
• Vuoskoski, Jonna Katariina (2014). What makes an instrument sound sad? Commentary on Huron, Anderson, and Shanahan. Empirical Musicology Review. ISSN 1559-5749. 9(1), p. 42–45.
• Saarikallio, Suvi H.; Vuoskoski, Jonna Katariina & Luck, Geoff (2014). Adolescents’ expression and perception of emotion in music reflects their broader abilities of emotional communication. Psychology of Well-Being. ISSN 2211-1522. 4(21). doi: 10.1186/s13612-014-0021-8.
• Ferrer, Rafael; Eerola, Tuomas & Vuoskoski, Jonna Katariina (2013). Enhancing genre-based measures of music preference by user-defined liking and social tags. Psychology of Music. ISSN 0305-7356. 41(4), p. 499–518. doi: 10.1177/0305735612440611.
• Vuoskoski, Jonna Katariina; Thompson, Marc; Clarke, Eric F. & Spence, Charles (2013). Crossmodal interactions in the perception of expressivity in musical performance. Attention, Perception & Psychophysics. ISSN 1943-3921. 76(2), p. 591–604. doi: 10.3758/s13414-013-0582-2.
• Eerola, Tuomas & Vuoskoski, Jonna Katariina (2013). A review of music and emotion studies: Approaches, emotion models, and stimuli. Music Perception. ISSN 0730-7829. 30(3), p. 307–340. doi: 10.1525/mp.2012.30.3.307.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2013). Extramusical information contributes to emotions induced by music. Psychology of Music. ISSN 0305-7356. 43(2), p. 262–274. doi: 10.1177/0305735613502373.
• Vuoskoski, Jonna Katariina; Thompson, William Forde; McIlwain, Doris & Eerola, Tuomas (2012). Who enjoys listening to sad music and why? Music Perception. ISSN 0730-7829. 29(3), p. 311–317. doi: 10.1525/mp.2012.29.3.311.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2012). Can sad music really make you sad? Indirect measures of affective states induced by music and autobiographical memories. Psychology of Aesthetics, Creativity, and the Arts. ISSN 1931-3896. 6(3), p. 204–213. doi: 10.1037/a0026937.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2011). Measuring music-induced emotion: A comparison of emotion models, personality biases, and intensity of experiences. Musicae Scientiae. ISSN 1029-8649. 15(2), p. 159–173. doi: 10.1177/102986491101500203.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2011). The role of mood and personality in the perception of emotions represented by music. Cortex. ISSN 0010-9452. 47(9), p. 1099–1106. doi: 10.1016/j.cortex.2011.04.011.
• Eerola, Tuomas & Vuoskoski, Jonna Katariina (2010). A comparison of the discrete and dimensional models of emotion in music. Psychology of Music. ISSN 0305-7356. 39(1), p. 18–49.

View all works in Cristin

• Vuoskoski, Jonna Katariina (2022). Empathy, Entrainment and Social Bonding. Show summary

  Music is an inherently social phenomenon. Even when we listen to music in solitude, social cognitive and affective processes play an important role in shaping our perception and experience. In my own work, I have explored how empathy in particular facilitates and modulates our engagement with music. Through recent empirical studies, I will demonstrate how empathy contributes to both affective attunement and bodily entrainment to music. Furthermore, I will argue that trait empathy may also facilitate the social bonding effects of musical engagement, whether in the context music listening or interpersonal synchrony. Finally, I will also discuss how feelings of being moved by music could be understood through a ‘social lens’ as experiences and appraisals of connectedness.

• Vuoskoski, Jonna Katariina (2021). The social dimension of music cognition.
• Vuoskoski, Jonna Katariina (2021). Who enjoys listening to sad music and why? Show summary

  Why do people sometimes enjoy listening to music that makes them sad? The paradox of “pleasurable sadness” has attracted significant research interest in recent years, but important pieces of the puzzle are still missing. Crucially, not everyone enjoys listening to sad music, and the individual differences between those who enjoy sad music and those don’t can be the key to solving the puzzle. I will present empirical evidence from my recent work involving self-report, psychophysiological and hormonal measures, and discuss the theoretical implications of these findings.

• Vuoskoski, Jonna Katariina (2021). From compassion to being moved: Social emotions evoked by music. Show summary

  Musical engagement involves and fosters a number of processes that are associated with empathy, such as emotional contagion, entrainment, and social bonding. One example of such a process is the feeling of ‘being moved’ – a powerful, rewarding experience often accompanied by chills, tears, and a sense of connection. In the past few years, ‘being moved’ has attracted increasing research interest as a distinct emotional response with prosocial functions and motivations – also in the context of the arts (e.g., Wassiliwizky et al., 2015; Eerola et al., 2016). Building on empirical evidence from my recent work, I will argue that experiences of ‘being moved’ in the context of music listening are inherently social responses. I will demonstrate that feelings of being moved are closely related to empathic personality traits and feelings of compassion, and they mediate the enjoyment of music-induced sadness. I will also argue that feeling moved by music is associated with appraisals or experiences of closeness or affiliation.

• Dalgard, Joachim; Lartillot, Olivier; Vuoskoski, Jonna Katariina & Guldbrandsen, Erling Eliseus (2021). Absorption - Somewhere between the heart and the brain.
• Subramanian, Sidhant; Mittal, Anant; Vuoskoski, Jonna Katariina & Alluri, Vinoo (2021). Music or Lyrics? Individual differences associated with listening strategies.
• Gram-Nilsen, Elias & Vuoskoski, Jonna Katariina (2021). The influence of the moving image on musical emotions.
• Vuoskoski, Jonna Katariina (2021). Ny forskningsstudie: Musikk demper korona-fortvilelsen best. [Newspaper]. Aftenposten.
• Vuoskoski, Jonna Katariina (2021). Episode 89: How Music Can Bridge Cultures. [Internet]. The Science of Happiness Podcast.
• Vuoskoski, Jonna Katariina (2021). Deeply Human: Sad Songs. [Radio]. BBC World Service .
• Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina (2020). Food & Paper: Virtually Together: Concerts during the Coronavirus. Show summary

  Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.

• Vuoskoski, Jonna Katariina (2020). Vad lyssnar folk på i Borgå, Karis och Jakobstad? [Internet]. https://svenska.yle.fi/artikel/2020/12/04/vad-lyssnar-folk-p.
• Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina (2020). Virtually together: Concerts during the coronavirus. Show summary

  Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. Participants watched at least 15 minutes of an online concert and reported information on the concert characteristics, emotional and social outcomes, and their demographics, motivations, listening technologies, and musical experience. The main outcomes are the Kama Muta Scale (Zickfeld et al., 2019) which measures feeling moved, and the social connectedness between the participant and the other attendees and performers. Mediation analyses will examine what aspects led to increased connectedness and feeling moved. 310 participants from 14 countries across the Americas (n = 212), Europe (n = 84), and Asia (n = 12) completed the survey. On average, participants reported on a 5-point scale that they felt moderately connected to the performer (M = 3.7), less connected to other audience members (M =2.3), and moderate feelings of being moved or touched (M = 3.7). Further mediation analyses will aim to understand what concert aspects led to these feelings. This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.

• Swarbrick, Dana; Seibt, Beate; Grinspun, Noemi & Vuoskoski, Jonna Katariina (2020). Virtually Together: Concerts during the Coronavirus. Show summary

  Background Government responses to the coronavirus led to unprecedented social distancing measures across the world. These measures were challenging for many; however, musicians adapted quickly by providing online virtual concerts. Anecdotally, viewers commented that virtual concerts made them feel socially connected despite the restrictions and the technologically mediated interactions. Little research has previously examined engagement at virtual concerts (Pursiainen, 2016), and to the best of our knowledge, no research has specifically examined which aspects of virtual concerts promote feelings of togetherness and being moved. Aims We aimed to examine what aspects of the virtual concert experience and participant characteristics 1) make people feel socially connected and 2) make people feel moved. Method Participants watched at least 15 minutes of an online concert and reported information on the concert characteristics, emotional and social outcomes, and their demographics, motivations, listening technologies, and musical experience. The main outcomes are the Kama Muta Scale (Zickfeld et al., 2019) which measures feeling moved, and the social connectedness between the participant and the other attendees and performers. Mediation analyses will examine what aspects led to increased connectedness and feeling moved. Results 310 participants from 14 countries across the Americas (n = 212), Europe (n = 84), and Asia (n = 12) completed the survey. On average, participants reported on a 5-point scale that they felt moderately connected to the performer (M = 3.7), less connected to other audience members (M =2.3), and moderate feelings of being moved or touched (M = 3.7). Further mediation analyses will aim to understand what concert aspects led to these feelings. Conclusions This research addresses the topical question of how people can feel socially connected in a time of social distancing. Both performing artists and societies can benefit from what this study might reveal about the online concert experience.

• Swarbrick, Dana; Grinspun, Noemi; Seibt, Beate & Vuoskoski, Jonna Katariina (2020). Quarantine Concerts.
• Eerola, Tuomas & Vuoskoski, Jonna Katariina (2020). Personality and listeners, The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym. ABC-CLIO. ISSN 978-1-4408-5771-3.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2020). Personality and musicians, The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym. ABC-CLIO. ISSN 978-1-4408-5771-3.
• Vuoskoski, Jonna Katariina & Heid, Markham (2019). Why Listening to Sad Music Makes You Feel Better. [Internet]. https://elemental.medium.com/why-listening-to-sad-music-make.
• Vuoskoski, Jonna Katariina (2019). Parallels between the cognition of rhythm in sports and music. Show summary

  Although rhythm is often discussed in purely auditory terms, mounting evidence from the fields of cognitive psychology and neuroscience suggests that rhythm is fundamentally a domain-general phenomenon grounded in motor action. By drawing parallels between music and rowing – a sport characterized by repetitive rhythmic patterns and synchronized joint action – I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how interpersonal synchronization relies on shared timing models, multisensory cues, and predictive processes. Furthermore, I will demonstrate how conceptual and theoretical tools developed in the context of musical rhythm – such as non-isochronous meter (i.e., a cyclic pattern of beats with unequal durations) – can contribute to conceptualizing and understanding rhythm cognition in the context of rowing as well. Finally, I will discuss how accurate sensorimotor synchronization can facilitate experiences of ‘flow’ in both disciplines – especially in the face of increasing rhythmic complexity.

• Vuoskoski, Jonna Katariina (2019). Accounting for inter-individual variance in perceived and felt emotions. Show summary

  The emotional meanings conveyed by music do not exist in a vacuum, but emerge from the interaction between the music, the listener, and the context/situation. In addition to cross-cultural variability in musical forms and the emotional connotations associated with them, there is also significant inter-individual variability within cultures with regard to emotional responding. In this talk, I will present empirical evidence from two studies that demonstrate the extent of inter-individual variability – in terms of both perceived and felt emotion – in Finnish listeners. Study 1 explored the contribution of Big Five personality traits and current mood to individual differences in emotions perceived in music. Sixty-seven participants listened to 50 short film music excerpts, and rated their perceived emotions using five discrete emotion scales (happiness, sadness, fear, anger, and tenderness). Both personality traits and mood states were significantly correlated with biases in emotion perception, but partial correlations and moderated multiple regression analyses revealed that current mood accounted for most of the inter-individual variance in ratings of perceived emotion. Study 2 investigated individual differences in emotional reactivity to music at the level of both self-reports and physiological responses. Furthermore, the role of trait empathy in these individual differences was explored. Fifty-four participants heard 10 1-minute music excerpts representing five different emotions (sad, happy, scary, tender, and neutral). Participants rated their liking and the overall intensity of their emotional response, and described their felt emotion using 7 rating scales. In addition, participants’ electrodermal activity and heart rate variability were measured. Correlation analyses revealed that trait empathy was associated with the intensity of emotional responses both at the level of self-report and physiological responses. Furthermore, the patterns of correlations were consistent across both levels. The implications of the findings will be discussed in terms of the benefits of investigating individual differences and measuring multiple components of emotion.

• Vuoskoski, Jonna Katariina & Layton, Christine (2019). Saturday Breakfast: There is a reason you get pleasure from sad songs. [Radio]. ABC Radio Perth, Australia.
• Vuoskoski, Jonna Katariina & Bjurström, Eelis (2019). Hautaa ystäväsi – Me kuuntelemme kuolemaa ja surkeutta romantisoivia kappaleita ymmärtämättä, että ne voivat vahingoittaa meitä syvästi. [Internet]. https://yle.fi/uutiset/3-10875178.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2019). Trait empathy contributes to the intensity of music-induced emotions: Evidence from self-reports and psychophysiology.
• Thompson, Marc Richard & Vuoskoski, Jonna Katariina (2019). Everything but the sound: Investigating the relationships between movement features and perceptual ratings of silent music performances.
• Vuoskoski, Jonna Katariina & Thompson, Marc Richard (2019). The contribution of visual and auditory cues to the perception of emotion in musical performance.
• Huron, David & Vuoskoski, Jonna Katariina (2019). On the enjoyment of sad music: Pleasurable compassion theory and the role of trait empathy.
• Vuoskoski, Jonna Katariina (2019). Sound Field (producer: PBS Digital Studios), Episode 2: Why Does Sarah McLachlan’s “Angel” Sound So Sad? [Internet]. https://www.youtube.com/watch?v=SHipCeYasYY.
• Vuoskoski, Jonna Katariina (2019). Being moved by music: A prosocial emotional response?
• Vuoskoski, Jonna Katariina; Zickfeld, Janis Heinrich; Alluri, Vinoo & Seibt, Beate (2018). Moved by music: Investigating continuous ratings and contributing musical features. Show summary

  In the past few years, the emotion commonly labelled ‘being moved’ has attracted increasing research interest in the context of the arts (e.g., Wassiliwizky et al., 2015; Eerola et al., 2016). ‘Being moved’ is typically characterized as a mixed or predominantly positive emotion, with joy and sadness as its main ingredients. In the context of music listening, feelings of being moved have been found to mediate the enjoyment of sad music (Vuoskoski & Eerola, 2017). However, little is known about the time course of such experiences. The aim of the present study was to investigate continuously rated experiences of ‘being moved’ in response to music, and how these experiences relate to perceived sadness, happiness, and beauty. 415 participants took part in a pre-registered online experiment where they heard 7 moving music excerpts (3 sad, 3 happy, and 1 neutral; duration 121-186 s) and continuously rated their experience or perception (1 scale per participant per excerpt). Before analyses, the continuous rating data was averaged (within each song), de-trended, and downsampled. Perceived beauty cross-correlated highly with being moved across all excerpts (CCF0 = .59). Being moved correlated with perceived happiness in both joyfully (CCF0 = .66) and sadly (CCF0 = .52) moving excerpts, but with perceived sadness only in the sadly moving excerpts (CCF0 = .48). An exploratory analysis of computationally extracted musical features revealed partly excerpt-dependent patterns of correlations, but RMS energy and spectral entropy – reflecting changes in loudness and broadness of the frequency range – significantly correlated with being moved across most pieces.

• Mittal, Anant; Vuoskoski, Jonna Katariina & Alluri, Vinoo (2018). Personality, trait empathy, and kinds of musical reward predict healthy and unhealthy music listening strategies.
• Vuoskoski, Jonna Katariina; Clarke, Eric F. & Elvers, Paul (2018). Comparing the effects of music and images on implicit cultural attitudes.
• Vuoskoski, Jonna Katariina (2018). Moved by music: The role of empathy and social cognition in music-induced emotions (keynote lecture).
• Vuoskoski, Jonna Katariina (2018). Moved by music: The role of empathy in music-induced emotions.
• Vuoskoski, Jonna Katariina (2018). The role of empathy in music-induced emotion.
• Vuoskoski, Jonna Katariina (2017). The role of empathy in music-induced emotions. Show summary

  Music is imbued with connotations of human emotional expression on multiple levels. Although it is likely that music utilises multiple different psychological mechanisms in the induction of emotional responses, one compelling account suggests that we might sometimes respond to music as we would to the observed experiences of another person — with empathy. In this talk, I will introduce the basic premise and outline the evidence for this account, and present recent findings from my own empirical work.

• Vuoskoski, Jonna Katariina (2017). Music, rowing, and the aesthetics of rhythm.
• Vuoskoski, Jonna Katariina (2017). How does music move us? The psychology of music and emotion.
• Vuoskoski, Jonna Katariina (2014). Personality. In Thompson, William Forde (Eds.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications. ISSN 9781452283036.
• Vuoskoski, Jonna Katariina (2014). Mood. In Thompson, William Forde (Eds.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications. ISSN 9781452283036.
• Vuoskoski, Jonna Katariina (2014). Individual differences. In Thompson, William Forde (Eds.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications. ISSN 9781452283036.
• Zelechowska, Agata; Jensenius, Alexander Refsum; Laeng, Bruno & Vuoskoski, Jonna Katariina (2020). Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music. Universitetet i Oslo. Full text in Research Archive

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