Handbook of Music and Emotion: Theory, Research, Applications

Paperback | May 14, 2011

EditorPatrik N. Juslin, John Sloboda

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Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book Music and Emotion'(OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In theyears since publication of that book, empirical research in this area has blossomed, and the successor to Music and Emotion reflects the considerable activity in this area. The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth. The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically-oriented chapters on the measurement of emotions via different channels (e.g., self report,psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behavior, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applicationsinvolving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, as well as propose future directions for the field. The only book of its kind, The Handbook of Music and Emotion will fascinate music psychologists, musicologists, music educators, philosophers, and others with an interest in music and emotion (e.g., in marketing, health, engineering, film, and the game industry). It will be a valuable resource forestablished researchers in the field, a developmental aid for early-career researchers and postgraduate research students, and a compendium to assist students at various levels. In addition, as with its predecessor, it will also attract interest from practising musicians and lay readers fascinatedby music and emotion.

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From the Publisher

Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book Music and Emotion'(OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In theyears since publication of that book, empirical...

Patrik N. Juslin is an associate professor of Psychology at Uppsala University, Sweden, where he teaches courses on music, emotion, perception, and research methodology. He completed his PhD in 1998 and became associate professor in 2004. Juslin has published numerous articles in the areas of expression in music performance, emotional...

other books by Patrik N. Juslin

Format:PaperbackDimensions:992 pages, 9.69 × 6.73 × 2.19 inPublished:May 14, 2011Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0199604967

ISBN - 13:9780199604968

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Table of Contents

Part I: Overture1. Patrik N.Juslin and John A.Sloboda: Introduction: Aims, organization, and terminologyPart II: Multidisciplinary Perspectives2. Stephen Davies: Emotions expressed and aroused by music: Philosophical perspectives3. Nicholas Cook and Nicola Dibben: Emotion in culture and history: Perspectives from musicology4. John A.Sloboda and Patrik N.Juslin: At the interface between the inner and outer world: Psychological perspectives5. Isabelle Peretz: Towards a neurobiology of musical emotions6. Judith Becker: Exploring the habitus of listening: Anthropological perspectives7. Tia DeNora: Emotion as social emergence: Perspectives from music sociologyPart III: Measurement8. Marcel Zentner and Tuomas Eerola: Self-report measures and models9. Emery Schubert: Continuous self-report methods10. Daniel Vastfjall: Indirect perceptual, cognitive, and behavioural measures11. Donald A.Hodges: Psychophysiological measures12. Stefan Koelsch, Walter A.Siebel, and Thomas Fritz: Functional neuroimagingPart IV: Music Making13. Dean Keith Simonton: Emotion and composition in classical music: Historiometric perspectives14. Alf Gabrielsson and Erik Lindstrom: The role of structure in the musical expression of emotions15. Robert Woody and Gary E.McPherson: Emotion and motivation in the lives of performers16. Dianna T.Kenny: The role of negative emotions in performance anxiety17. Patrik Juslin and Renee Timmers: Expression and communication of emotion in music performancePart V: Music Listening18. John A.Sloboda: Music in everyday life: The role of emotions19. David J.Hargreaves and Adrian C.North: Experimental aesthetics and liking for music20. Alf Gabrielsson: Strong experiences with music21. David Huron and Elisabeth Hellmuth Margulis: Musical expectancy and thrills22. Patrik N. Juslin, Simon Liljestrom, Daniel Vastfjall and Lars-Olov Lundqvist: How does music evoke emotions? Exploring the underlying mechanismsPart VI: Development, Personality and Social Factors23. Sandra E. Trehub, Erin E.Hannon and Adena Schachner: Perspectives on music and affect in the early years24. Peter J. Rentfrow and Jennifer A.McDonald: Preference, personality, and emotion25. Vladimir J.Konecni: The influence of affect on music choice26. Reebee Garofalo: Politics, mediation, social context, and public use27. William Forde Thompson and Laura-Lee Balkwill: Cross-cultural similarities and differencesPart VII: Applications28. Susan Hallam: Music education: the role of affect29. Michael H.Thaut and Barbara L. Wheeler: Music therapy30. Suzanne Hanser: Music, health, and well-being31. Annabel J. Cohen: Music as a source of emotion in film32. Adrian C.North and David J. Hargreaves: Music and marketingPart VIII: Encore33. Patrik N.Juslin and John A.Sloboda: The past, present, and future of music and emotion research

Editorial Reviews

"This is a comprehensive and enlightening text that will appeal to many. The diversity in contributions and scope of treatment of the topic makes it an essential read for anyone interested in music and emotion." --The Psychologist