Handbook of Music and Emotion

Theory, Research, Applications
1. Auflage 2011
ISBN: 978-0-19-960496-8
Verlag: Oxford University Press

Buch, Englisch, 992 Seiten, Format (B × H): 169 mm x 246 mm, Gewicht: 1316 g

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 the years 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 applications involving 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 for established 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 fascinated by music and emotion.

Readership: Students and researchers in emotion and the affective sciences; music psychologists and music educators; philosophers of mind and aesthetics; neuroscientists.

Zielgruppe

Students and researchers in emotion and the affective sciences; music psychologists and music educators; philosophers of mind and aesthetics; neuroscientists

Autoren/Hrsg.

Sloboda, John

Juslin, Patrik N.

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musikpsychologie, Musiksoziologie
• Interdisziplinäres Wissenschaften Wissenschaften Interdisziplinär Neurowissenschaften, Kognitionswissenschaft
• Sozialwissenschaften Psychologie Allgemeine Psychologie Kognitionspsychologie Emotion, Motivation, Handlung

Inhaltsverzeichnis

Part I: Overture
1: Patrik N.Juslin & John A.Sloboda: Introduction: Aims, organization, and terminology
Part II: Multidisciplinary Perspectives
2: Stephen Davies: Emotions expressed and aroused by music: Philosophical perspectives
3: Nicholas Cook & Nicola Dibben: Emotion in culture and history: Perspectives from musicology
4: John A.Sloboda & Patrik N.Juslin: At the interface between the inner and outer world: Psychological perspectives
5: Isabelle Peretz: Towards a neurobiology of musical emotions
6: Judith Becker: Exploring the habitus of listening: Anthropological perspectives
7: Tia DeNora: Emotion as social emergence: Perspectives from music sociology
Part III: Measurement
8: Marcel Zentner & Tuomas Eerola: Self-report measures and models
9: Emery Schubert: Continuous self-report methods
10: Daniel Västfjäll: Indirect perceptual, cognitive, and behavioural measures
11: Donald A.Hodges: Psychophysiological measures
12: Stefan Koelsch, Walter A.Siebel, and Thomas Fritz: Functional neuroimaging
Part IV: Music Making
13: Dean Keith Simonton: Emotion and composition in classical music: Historiometric perspectives
14: Alf Gabrielsson & Erik Lindström: The role of structure in the musical expression of emotions
15: Robert Woody & Gary E.McPherson: Emotion and motivation in the lives of performers
16: Dianna T.Kenny: The role of negative emotions in performance anxiety
17: Patrik Juslin & Renee Timmers: Expression and communication of emotion in music performance
Part V: Music Listening
18: John A.Sloboda: Music in everyday life: The role of emotions
19: David J.Hargreaves & Adrian C.North: Experimental aesthetics and liking for music
20: Alf Gabrielsson: Strong experiences with music
21: David Huron & Elisabeth Hellmuth Margulis: Musical expectancy and thrills
22: Patrik N. Juslin, Simon Liljeström, Daniel Västfjäll & Lars-Olov Lundqvist: How does music evoke emotions? Exploring the underlying mechanisms
Part VI: Development, Personality and Social Factors
23: Sandra E. Trehub, Erin E.Hannon & Adena Schachner: Perspectives on music and affect in the early years
24: Peter J. Rentfrow & Jennifer A.McDonald: Preference, personality, and emotion
25: Vladimir J.Konecni: The influence of affect on music choice
26: Reebee Garofalo: Politics, mediation, social context, and public use
27: William Forde Thompson & Laura-Lee Balkwill: Cross-cultural similarities and differences
Part VII: Applications
28: Susan Hallam: Music education: the role of affect
29: Michael H.Thaut & Barbara L. Wheeler: Music therapy
30: Suzanne Hanser: Music, health, and well-being
31: Annabel J. Cohen: Music as a source of emotion in film
32: Adrian C.North & David J. Hargreaves: Music and marketing
Part VIII: Encore
33: Patrik N.Juslin & John A.Sloboda: The past, present, and future of music and emotion research

Über Autor(innen)

Edited by Patrik N. Juslin, Dept of Psychology, Uppsala University, Uppsala, Sweden, and John Sloboda, School of Psychology, Keele University, Keele, UK

Patrik N. Juslin is 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 responses to music, music education, and emotion in speech. In 2001, he edited the volume Music and Emotion: Theory and Research together with John Sloboda. Juslin is associate editor of the journals Music Perception and Musicae Scientiae. He is a member of the International Society for Research on Emotions and received ESCOM's 'Young Researcher Award' in 1996. Alongside his work as a researcher, he has also worked professionally as a guitar player.

John Sloboda is Emeritus Professor at Keele, and honorary Professor of Music at Royal Holloway University, London. He has been a member of the School of Psychology at Keele since 1974 and was Director of its Unit for the Study of Musical Skill and Development founded in 1991. John Sloboda is internationally known for his work on the psychology of music. He is a Fellow of the British Psychological Society, and has been President of both the Psychology and General Sections of the British Association for the Advancement of Science, as well as President of the European Society for the Cognitive Sciences of Music, where he serves on the editorial board of it's journal Musicae Scientiae. He was recipient of the 1998 British Psychological Society's Presidents Award for Distinguished Contributions to Psychological Knowledge, and in 2004 was elected to Fellowship of the British Academy. He is author of over 150 publications in the field of music psychology.

Contributors:
Laura-Lee Balkwill, Department of Psychology, Queen's University, CANADA
Judith Becker, School of Music, University of Michigan, USA
Annabel Cohen, Department of Psychology, University of Prince Edward Island, CANADA
Nicholas Cook, Department of Music, University of Cambridge, UK
Stephen Davies, Department of Philosophy, University of Auckland, NEW ZEALAND
Tia DeNora, Department of Sociology, University of Exeter, UK
Nicola Dibben, Department of Music, University of Sheffield, UK
Tuomas Eerola, Department of Music, University of Jyväskylä, FINLAND
Thomas Fritz, Department of Neurophysics, Max Planck Institute for Human Cognitive and Brain Sciences, GERMANY
Alf Gabrielsson, Department of Psychology, Uppsala University, SWEDEN
Reebee Garofalo, College of Public & Community Service, University of Massachusetts Boston, USA
Susan Hallam, Institute of Education, University of London, UK
Erin Hannon, Department of Psychology, University of Nevada Las Vegas, USA
Suzanne Hanser, Music Therapy Department, Berklee College of Music, USA
David Hargreaves, School of Education, Roehampton University, UK
Elizabeth Hellmuth Margulis, Music Department, University of Arkansas, USA
Jennifer McDonald, Department of Social and Developmental Psychology, University of Cambridge, UK
Donald Hodges, School of Music, University of North Carolina at Greensboro, USA
David Huron, School of Music, Ohio State University, USA
Patrik Juslin, Department of Psychology, Uppsala University, SWEDEN
Dianna Kenny, Sydney Conservatorium of Music, The University of Sydney, AUSTRALIA
Stefan Koelsch, Department of Psychology, University of Sussex, UK
Vladimir Koneni, Department of Psychology, University of California, USA
Simon Liljeström, Department of Psychology, Uppsala University, SWEDEN
Erik Lindström, School of Management, Blekinge Institute of Technology, SWEDEN
Lars-Olov Lundqvist, Centre of Rehabilitation Research, Örebro University Hospital, SWEDEN
Gary McPherson, School of Music, University of Illinois, USA
Adrian North, School of Life Sciences, Heriot Watt University, UK
Isabelle Peretz, Department of Psychology, University of Montreal, CANADA
Peter Rentfrow, Department of Social and Developmental Psychology, University of Cambridge, UK
Adena Schachner, Department of Psychology, Harvard University, USA
Emery Schubert, School of Music and Music Education, University of New South Wales, AUSTRALIA
Walter Siebel, Conflict Research Center Wiesbaden, GERMANY
Dean Keith Simonton, Department of Psychology, University of California, Davis, USA
John Sloboda, Center for the History and Analysis of Recorded Music, Royal Holloway University of London, UK
Michael Thaut, Center for Biomedical Research, Colorado State University, USA
Bill Thompson, Music, Sound, and Performance Lab, Macquarie University, AUSTRALIA
Renee Timmers, Department of Music, University of Sheffield, UK
Sandra Trehub, Department of Psychology, University of Toronto, CANADA
Daniel Västfjäll, Department of Applied Acoustics, Chalmers University of Technology, SWEDEN
Barbara Wheeler, School of Music, University of Louisville, USA
Robert Woody, Lincoln School of Music, University of Nebraska, USA