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self-emotion ((from Juslin and Vastfjall, 2008) Several studies have…

- - - - (from Juslin & Laukka, 2004) the study of Lindstrom, Justin, Bresin, and Williamon, (2003) ask 135 music students what emotions can be expressed in music by questionnaire research. Happiness, sadness, fear, love, and anger were among the 10 most highly rated words of a list of 38 words containing both basic and complex emotions.
        
        (Stacho et al., 2013) the study investigated 3-7 -year-old children's abilities to interpret the emotional content expressed through performance features in music. Short musical pieces previously rated as inexpressive of emotion were recorded by three musicians with five emotional expressions (happy, sad, fearful, angry and neutral) and played to 3-7 -year-old children (N=94), ADULT NON-MUSICIANS (n=83), and adult musicians (N=118) who made a forced -choice judgement about the emotion that each excerpt conveyed. Significant differences were observed between children, adult non-musicians and musicians in their ability to interpret the emotional content of a performance. Especially for children, the easiest emotions to identify proved to be happiness and sadness, while anger, fear and emotional neutrality appeared to be more difficult to identity.
        
        (Adachi and Trehub, 1998) The present investigation revealed that children 4-12 years of age can portray happiness and sadness contrastively through their sung performance of a familiar song. Boys' and girls' predominant vocal means of expressing emotion at all age - levels was to sing faster, louder and at a higher pitch level when portraying happiness rather than sadness.
        
        (Adachi and Trehub, 1998) Perhaps children's emotion arises from circumstances :recycle: that may lead children t become happy or sad. For example, children commonly react with sadness to their parents' vocal or facial expressions of anger (see Bretherton et al., 1986; Bretherton et al., 1981).
        
        (Marik, 2016) music can evoke, modify and convey emotions and can help to regulate them. Music therapists use the effects of music to address emotions and emotional problems.
        
        (Moore, 2013) More recent research has focused on the neural basis underlying music-evoked emotions, finding that music does indeed impact neural areas implicated in emotion processing (Blood & Zatorre, 2001; Koelsch, 2010; Trainor & Schmidt, 2003).
        
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- - - - age :!:(Adachi and Trehub, 1998) increasing age was associated with decreased use of idiosyncratic expressions and greater consensus in the use of expressive symbols. For example, the type of unique voice used by 4-5 -year-olds varied from animal sounds and piercing voice quality in their happy renditions to falsetto, squeaky, throaty and mumbling voice in their sad renditions. By 8 years of age, however, unique voice, ranging from angry voice to crying, throaty and mumbling voice, depicted sadness exclusively. This developmental pattern may reflect children's increasing awareness of conventional expressions and their role as emotional elicitors, knowledge that is central to the socialisation of emotion (Lewis and Michalson, 1983).
        
        singing alone :<3:(Adachi and Trehub, 1998) Perhaps 11-12-year-olds' tendency to look downward stems from avoidance of eye-gaze with their audience, a behavioural inhibition arising from self-consciousness in early adolescence (Elkind, 1967; Fenigstein, Scheier and Buss, 1975; Hamer and Bruch, 1994).
        
        (Adachi and Trehub, 1998) gender differences. :!!: Gender differences were evident in girls' greater use of conventional musical devices such as legato and portamento and boys' greater use of non-musical devices such as frowning, postural change and unique voice.
        
        (Boal-palheiros and Hargreaves, 2001) this study investiged the differences between the functions of music listening at home and at school, and the potential effects of age and nationality on these differences. 120 participants completed an individual structured interview schedule, which consisted of ten open-ended questions. These covered the role of music listening in young peoples leisure interests as a whole, and more specific aspects of listening at home and at school. Sixty participants were from schools in the UK, and sixty from schools in Portugal: within each nationality group, thirty were aged 9-10 years and thirty aged 13-14 years. The findings showed that music listening was :green_cross: an important leisure activity, especially for the older children, and that most children showed moderate positive attitudes towards school music. Home music listening and school music fulfilled different functions: participants reported that home :<3: listening was linked with enjoyment, emotional mood and social relationships, whereas school music was associated with motivation for learning and being active, and particular lesson content. There were few clear-cut national differences, and music was generally undervalued in both countries.
        
        emotion is related to trainning. :red_flag: (Maroti et al., 2013) Numerous studies found evidence that music training can enhance cognitive abilities both for children and adults. However, no evidence was found yet, whether music training can enhance abilities in emotion perception. I tested 12 8-9 year-old children (9 boys and 3 girls) on emotion perception in visual and musical contexts. Denographic information was collected from parents in a form of a questionnaire including their age, ethnicity, child's and parents' first language, parents' level of education, annual family income, parents' marital status, child's and parents' musical history, child's primary out-of-school activity, child's frequency of music listening and the style of music the child listens the most. Children were asked to fill out a music questionnaire after each music listening. The questionnaire consisted a list of 11 words that described different feelings and emotions. After they fully understood the words, they had to indicate to what extent they perceived them in the music they just heard. Children were asked to use a scale to indicate how much they perceived each emotion while they were listening to the music. All the three musical excepts were presented on the piano. (critical: the results might be different if use human voice. as children get more sense of the human voice, Using nine different categoies might be a changelleng for some children). Another task is visuak task. the task consisted of 11 color photos of adult people. Each photo expressed one emotion among the 11 emotions from the word-list on the music quesitionnaire. (critical; 11 emotions is huge for children) . The tests did not show significant difference between the musically trained and non-trained group neither in visual nor in musical context, however, when emotion scores were analyzed separately for each piece of music, musically trained children's responses reflected stereotypical modes of approaching emotional meanings in music, moreover, musically trained children's judgments were more uniform as there was less variability between their responses compared to the responses of non-trained children, which can be attributed to the common expressive rules whereby children learn to convey emotions through music during their music training.
        
        The finding of (Maroti et al., 2013) is opposite with Sing Up data. :red_flag: who did not find significant difference between trained and untrained children. Lehmann et al., (2007) support Maroti et al. they thought as a result of music training, musicians learn expressive performance rules, whereby emotions are conveyed through music, such as how to articulate a melody or change loudness, and these strategies are quite uniform in the Western music education. Actually, two studies did the same things in two way. Children might could tell the different emotion, but it did not mean that they can express emotion in music or singing. (critical, the author said that the small number of sample size was a serious limitation of the study.)
        
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        Welch et al. 2009 :!: :!!:
        
        (Thoma et al., 2012) Our findings demonstrate emotion-congruent music selection and highlight the important role of specific emotion-regulation styles in the selection of music in everyday situations. (Explanation: as specifical musical emotion came from music selection. In Welch et al. Older children reported a more negative emotion than that of young children. They might be less selected positive music than children. Instead, they might be tended to selected popular music, which might be involved negative emotion, to show people that they have grown up. On contrasted, young children were reported that they were more like music, and many music or songs were nursery songs or songs from text books, most songs or music were positive, which might guide them more positive than older children. (analysis for age). :!:
- - - - the relationship between emotion and like singing/music: (from Maroti et al., 2013) when undergraduate students were tested on emotion perception in melodic utterances, students with high emotional intelligence performed better, :check: (Behne, 1997; Juslin & Laukka,
        2004; Sloboda & O’Neill, 2001; Zillman & Gan, 1997).
        
        Juslin, P. N., & Laukka, P. (2004) the study showed that emotion is strongly related to most people's primary motives for listening to music. ?
        
        relationship between emotion and listen to music or singing (Skånland. 2013) It is evident that the present study's informants used their MP3 players as resources in affect regulation, both consciously and subconsciously. Importantly, they did not necessarily aim to feel better by listening to music but rather to sustain and/or reflect upon whatever moods and emotions they were experiencing