![]() ![]() Listeners may share their emotional states in music reviews after listening to music, the protagonists in books may describe the perceived emotions of music they heard, and people may recommend music that expresses specific emotions on social media. As the soul of music, music’s emotional information often appears in various human records. However, the emotional description of music in texts has not been systematically investigated. By mining the music-related texts, researchers have investigated the meanings of a singer (Vannini, 2004), the contributions of music journalism (Fürsich and Avant-Mier, 2013), music-related metaphors (Šeškauskienė and Levandauskaitė, 2013), and so forth. Since music plays an important role in human life, how music was described by people has been recorded in different corpora, such as books (Michel et al., 2011), music reviews (Vannini, 2004), and texts in social media platforms (Dewan and Ramaprasad, 2014). Furthermore, the emotion information of music has been widely used in various application fields including music recommendation (Han et al., 2010), music therapy (Bernatzky et al., 2011), and music information retrieval (Downie, 2008). People may describe and share the emotional information of music that they listen to, and show a preference for music expressing specific emotions such as sadness (Xu et al., 2021 Yoon et al., 2020) and happiness (Schellenberg et al., 2008). Compared to the felt emotions of music, the perceived emotions are regarded as the “objective” aspects of music-elicited emotion (Gabrielsson, 2001). Thus, the perceived emotions (emotions expressed by music) and the felt emotions (emotions aroused by music) have attracted increasing academic attention in recent decades (e.g., Juslin et al., 2014 Kallinen and Ravaja, 2006 Schubert, 2013 Xu et al., 2021). Music moves us by conveying and evoking anything from arousal and basic emotions (e.g., happiness and sadness) to complex emotions (e.g., love and nostalgia). ![]()
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