Jonna Katariina Vuoskoski

• Vuoskoski, Jonna Katariina & Reynolds, Dee (2019). Music, rowing, and the aesthetics of rhythm. The Senses & Society.  ISSN 1745-8927.  14(1), s 1- 14 . doi: 10.1080/17458927.2018.1525201
• 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), s 335- 345 . doi: 10.1080/17458927.2018.1525200
• 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.  s 156- 166 . doi: 10.1016/j.plrev.2018.06.013
• Zickfeld, Janis Heinrich; Schubert, Thomas; Seibt, Beate; Blomster, Johanna Katarina; Arriaga, Patrícia; Basabe, Nekane; Blaut, Agata; Caballero, A.; Carrera, Pilar; Dalgar, Ilker; Ding, Yi; Dumont, K; Gaulhofer, Valerie; Gračanin, Asmir; Gyenis, Réka; Hu, Chuan-Peng; Kardum, Igor; Lazarević, Ljiljana; Mathew, Leemamol; Mentser, Sari; Nussinson, Ravit; Onuki, Mayuko; Páez, Darío; Pásztor, Anna; Peng, Kaiping; Petrović, Boban; Pizarro, José J.; Schönefeld, Victoria; Śmieja, Magdalena; Tokaji, Akihiko; Vingerhoets, Ad; Vorster, Anja; Vuoskoski, Jonna Katariina; Zhu, Lei & Fiske, Alan Page (2018). Kama Muta: Conceptualizing and Measuring the Experience Often Labelled Being Moved Across 19 Nations and 15 Languages. Emotion.  ISSN 1528-3542. . doi: 10.1037/emo0000450
• Miu, Andrei & Vuoskoski, Jonna Katariina (2017). The social side of music listening: Empathy and contagion in music-induced emotions, In  Music and Empathy.  Routledge.  ISBN 9781472445803.  4.  s 124 - 138
• Vuoskoski, Jonna Katariina (2017). Musical preference: Personality, style, and music use, In Richard D Ashley & Renee Timmers (ed.),  The Routledge Companion to Music Cognition.  Routledge.  ISBN 9781138721050.  37.  s 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)
• 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, s 100- 121 . doi: 10.1016/j.plrev.2017.11.016 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 & Kautiainen, Hannu (2016). Being moved by unfamiliar sad music is associated with high empathy. Frontiers in Psychology.  ISSN 1664-1078.  7(1176)
• Vuoskoski, Jonna Katariina; Clarke, Eric F. & DeNora, Tia (2016). Music listening evokes implicit affiliation. Psychology of Music.  ISSN 0305-7356.  45(4), s 584- 599
• 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), s 179- 188
• 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), s 457- 471
• 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, s 103- 106
• Clarke, Eric F.; DeNora, Tia & Vuoskoski, Jonna Katariina (2015). Music, empathy and cultural understanding. Physics of Life Reviews.  ISSN 1571-0645.  15, s 61- 88
• 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), s 116- 123
• Vuoskoski, Jonna Katariina (2015). Music, Empathy, and Affiliation: Commentary on Greenberg, Rentfrow, and Baron-Cohen. Empirical Musicology Review.  ISSN 1559-5749.  10(1), s 99- 102
• 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)
• Vuoskoski, Jonna Katariina (2014). What makes an instrument sound sad? Commentary on Huron, Anderson, and Shanahan. Empirical Musicology Review.  ISSN 1559-5749.  9(1), s 42- 45
• 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), s 307- 340
• 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), s 499- 518
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2013). Extramusical information contributes to emotions induced by music. Psychology of Music.  ISSN 0305-7356.  43(2), s 262- 274
• 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), s 591- 604
• 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), s 204- 213
• 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), s 311- 317
• 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), s 159- 173
• 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), s 1099- 1106
• 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), s 18- 49

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• Eerola, Tuomas & Vuoskoski, Jonna Katariina (2020). Personality and listeners, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7a.
• Vuoskoski, Jonna Katariina & Eerola, Tuomas (2020). Personality and musicians, In  The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym.  ABC-CLIO.  ISBN 978-1-4408-5771-3.  Chapter 7b.
• Huron, David & Vuoskoski, Jonna Katariina (2019). On the enjoyment of sad music: Pleasurable compassion theory and the role of trait empathy. Show summary

  Why do people enjoy listening to nominally sad music? In the first instance, only about half the population reports enjoying sad music (Garrido & Schubert, 2011; Taruffi & Koelsch, 2014). Such individual variability suggests that either culture, experience, and/or personal trait factors play a decisive role in the seemingly paradoxical phenomenon of sad-music enjoyment. Recent experiments implicate trait empathy. Specifically, those listeners who most enjoy sad music typically score high on ”empathetic concern” (or compassion), with nominal ”personal distress” (or commiseration) (Eerola, et al., 2016; Kawakami & Katahira, 2015; Sattmann & Parncutt, 2018; Vuoskoski & Eerola, 2017). That is, when encountering sadness-related stimuli, sad- music lovers are more likely to experience pity or compassion rather than an emotional contagion of evoked sadness or commiseration. The authors review literature implicating compassion as a positively valenced affect. Neuroimagining studies show that altruistic thoughts alone are sufficient to activate regions of the medial forebrain pleasure circuit (Harbaugh, Mayr & Burghart, 2007; Izuma, Saito, & Sadato, 2008). Since compassion is a precursor affect intended to motivate altruistic behaviors, compassion must also be pos- itively valenced. In this regard, the pleasure of compassion conforms to classic research on dopamine function, where over time, dopamine rewards shift from consummatory behaviors to anticipatory behaviors (Berridge & Robinson, 1998; Gebauer, et al., 2012; Weiss, et al., 1993). Overall, Pleasurable Compassion Theory suggests that sad-music lovers experience only moderate levels of “I feel your pain” but high levels of “I feel sympathy for you.” If compassion is a positively valenced affect, then high levels of sympathy, pity, or compassion will produce a broadly pleasurable experience. Finally, Pleasureable Compassion Theory is shown to avoid a number of classic pitfalls identified by aesthetic philosophers when accounting for the paradox of negative emotions in the arts (e.g., Levison, 2013).

• Thompson, Marc Richard & Vuoskoski, Jonna Katariina (2019). Everything but the sound: Investigating the relationships between movement features and perceptual ratings of silent music performances. Show summary

  In musical performance, the gestures and mannerisms of a musician can have a profound impact on the observer’s experience of the music. In this presentation, we investigate to what degree this holds true when presenting participants silent videos of abstracted movement (stick figure animations derived from motion capture data). [P] A pianist and violinist individually performed four pieces (composed to express sadness, happiness, threat, and peacefulness; Vieillard et al., 2008), each with four different emotional expressions: sad, happy, angry and deadpan. The 32 performances were tracked using optical motion capture. Subsequently, participants (piano group: n = 31; violin group: n = 34) viewed the performances as stick-figure animations and provided ratings of perceived happiness, anger, sadness, and tenderness for each performance. [P] From the 3D motion capture data for each performance, we computed variables based on the movements of the head, torso, shoulders, arms and hands. We computed the average velocity, acceleration and jerk of each direction (x, y, z) as well as the norm of the vectors. We compared these features with the averaged perceptual ratings. [P] Correlation analyses revealed that participants were likely to rate a performer’s intention high on happiness and anger when the movements were high in activity (e.g. quick movements, many changes in directions), while the performances were rated high on sadness and tenderness when the movement were low in activity. For both the pianist and the violinist, no single part of the body stood out as correlating more highly with the perceptual ratings than others. [P] The results support past research that the communication of emotional intentions in a musical performance is possible even when viewing the performances without sound and in an abstracted setting. They also indicate that the visual aspects of a performance are experienced as a single gestalt (as opposed to paying attention to individual parts of the body).

• 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 (2019). Being moved by music: A prosocial emotional response?. Show summary

  Musical engagement (music-making, listening and dancing) involves and fosters a number of processes that are associated with empathy, such as emotional contagion, embodied resonance, 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). ‘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 are closely related to empathic personality traits, and have been found to mediate the enjoyment of sad music (Vuoskoski & Eerola, 2017). Building on empirical evidence from my recent work, I will argue that the experiences of ‘being moved’ in the context of music listening are inherently social responses with prosocial motivations and functions.

• 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, 14. februar). Sound Field (producer: PBS Digital Studios), Episode 2: Why Does Sarah McLachlan’s “Angel” Sound So Sad?. [Internett].  https://www.youtube.com/watch?v=SHipCeYasYY.
• Vuoskoski, Jonna Katariina & Bjurström, Eelis (2019, 23. juli). Hautaa ystäväsi – Me kuuntelemme kuolemaa ja surkeutta romantisoivia kappaleita ymmärtämättä, että ne voivat vahingoittaa meitä syvästi. [Internett].  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. Show summary

  It has been postulated that empathy and emotional contagion might be some of the fundamental mechanisms through which music induces emotional responses in listeners. Previous studies have reported correlations between questionnaire measures of trait empathy and self-reported intensity of music-induced emotion (particularly in response to sad and tender music), but it is not yet known whether this association only exists at the level of self-report. us, the aim of this study was to investigate the relationship between trait empathy and psychophysiological indices of music-induced emotion. Fi y-four participants heard 10 1-minute music excerpts representing ve di erent emotions (sad, happy, scary, tender, and neutral). For each excerpt, participants rated their liking and the overall intensity of their emotional response, and described their felt emotion using 7 rating scales (happy, tender, peaceful, moved, anxious, and energetic). In addition, participants’ electrodermal activity and heart rate variability (HRV) were measured. Trait empathy was measured using the Interpersonal Reactivity Index (Davis, 1980). Trait empathy correlated signi cantly with the mean ratings of overall intensity of felt emotion (averaged across all excerpts; r = .29). Trait empathy also correlated with phasic skin conductance activity in response to sad (r = .28) and tender (r = .33) excerpts, and with high- frequency HRV in response to happy excerpts (r = .36; all p < .05). ese results corroborate previous ndings that have associated trait empathy with the self-reported intensity of music-induced emotions, and provide novel evidence of a similar pattern also on the level of psychophysiology.

• Vuoskoski, Jonna Katariina & Heid, Markham (2019, 05. september). Why Listening to Sad Music Makes You Feel Better. [Internett].  https://elemental.medium.com/why-listening-to-sad-music-make.
• Vuoskoski, Jonna Katariina & Layton, Christine (2019, 21. september). Saturday Breakfast: There is a reason you get pleasure from sad songs. [Radio].  ABC Radio Perth, Australia.
• Vuoskoski, Jonna Katariina & Thompson, Marc Richard (2019). The contribution of visual and auditory cues to the perception of emotion in musical performance. Show summary

  In musical performance, emotional expression emerges from the interplay between the structural features of the music (i.e., the composition) and the expressive efforts of the performer. Previous research has shown that the body movements and gestures of the performer constitute an important source of expressive information, successfully communicating different expressive intentions to audiences. However, it is still un- known whether visual kinematic information about performers’ movements could also modulate perceived emotions. [P] This study aimed to investigate the relative contributions of auditory and visual cues to the communication of emotion in musical performance. A pianist and a violinist performed four short musical passages (composed to express sadness, happiness, threat, and peacefulness; Vieillard et al., 2008), each with four different emotional expressions: sad, happy, angry, and deadpan. The musicians’ movements were tracked using optical motion capture. [P] A total of 90 participants took part in three perceptual experiments, where they rated perceived emotions using four scales. There were four rating conditions: audio-only, video-only (with point-light animations generated from motion capture data), audiovisual, and time-warped audiovisual. In the time-warped condition, motion capture animations from all four expressive conditions were combined and synchronized with the audio of the deadpan performances. [P] Repeated-measures ANOVAs revealed that participants could accurately recognize emotional expressive intentions based on vi- sual information alone. In the audio-only condition, Type of Composition (mean effect size = .40; generalized eta- squared; Bakeman, 2005) accounted for more variance than Expressive Intention (mean effect size = .17) in participants’ emotion ratings. In the audiovisual condition, the difference between mean effect sizes was reduced (Type of Composition = .36; Expressive Intention = .20), indicating that visual kinematic infor- mation enhanced the perceptual salience of expressive intentions. The time-warped audiovisual condition (where animations with different expressive intentions were paired with deadpan audio) also revealed that visual information could modulate perceived emotions.

• 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 (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; Clarke, Eric F. & Elvers, Paul (2018). Comparing the effects of music and images on implicit cultural attitudes.
• 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.

• Vuoskoski, Jonna Katariina (2017). How does music move us? The psychology of music and emotion.
• Vuoskoski, Jonna Katariina (2017). Music, rowing, and the aesthetics of rhythm.
• 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 (2014). Individual differences, In William Forde Thompson (ed.),  Music in the Social and Behavioral Sciences: An Encyclopedia.  Sage Publications.  ISBN 9781452283036.  Encyclopedia article.
• Vuoskoski, Jonna Katariina (2014). Mood, In William Forde Thompson (ed.),  Music in the Social and Behavioral Sciences: An Encyclopedia.  Sage Publications.  ISBN 9781452283036.  Encyclopedia article.
• Vuoskoski, Jonna Katariina (2014). Personality, In William Forde Thompson (ed.),  Music in the Social and Behavioral Sciences: An Encyclopedia.  Sage Publications.  ISBN 9781452283036.  Encyclopedia article.

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