File Name: handbook of music and emotion .zip
Why do people listen to music? Over the past several decades, scholars have proposed numerous functions that listening to music might fulfill. However, different theoretical approaches, different methods, and different samples have left a heterogeneous picture regarding the number and nature of musical functions. Moreover, there remains no agreement about the underlying dimensions of these functions. Part one of the paper reviews the research contributions that have explicitly referred to musical functions. It is concluded that a comprehensive investigation addressing the basic dimensions underlying the plethora of functions of music listening is warranted.
Springer Handbook of Systematic Musicology pp Cite as. This chapter summarizes the current state of music and emotion research, starting with the fundamental definitions and the assumed structures of emotions Sect. Particular attention is given to challenges that are still waiting to be resolved, such as the cultural context and the situal context of music listening Sect. This chapter not only reviews the topics in which consensus has emerged, but also attempts to combine some of the key themes that have perhaps become lost amongst the increasing diversity of theories and foci of research. From ancient Greece Aristotle, Plato to the Enlightenment Rousseau, Baumgarten , philosophers have attempted to account for this pull, as have the fathers of evolutionary thought Charles Darwin and contemporary psychology Wilhelm Wundt.
Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. This book offers an account of this domain. It provides 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. Sections three and four address how emotion enters into different aspects of musical behaviour, both the making of music and its consumption.
The Oxford Handbook of Music and the Brain is a compendium of current research on music in the human brain. An international roster of 54 authors from 13 countries have written over , words that are organized into 33 chapters. Each chapter offers a thorough review of the current status of research literature as well as an examination of limitations of knowledge and suggestions for future advancement and research efforts. The book is directed towards a broad readership including neuroscientists, musicians, clinicians, researchers and scholars from related fields but also readers with a general interest in the topic. Keywords: music and brain , neuroscience , neurologic music therapy , genetics , musical emotions , music perception , music cognition , music performance , neuroaesthetics , music learning , musician health , early musical development. Michael H.
Research into music and emotion seeks to understand the psychological relationship between human affect and music. The field, a branch of music psychology , covers numerous areas of study, including the nature of emotional reactions to music, how characteristics of the listener may determine which emotions are felt, and which components of a musical composition or performance may elicit certain reactions. The research draws upon, and has significant implications for, such areas as philosophy , musicology , music therapy , music theory and aesthetics , as well as the acts of musical composition and of musical performance.
Access options available:. Edited by Patrik Juslin and John A. Series in Affective Science. Oxford: Oxford University Press, ISBN
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The Oxford Handbook of Music Psychology provides a comprehensive overview of the latest developments in this fast-growing area of research.
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