Handbook of Music and Emotion: Theory, Research, Applications by Patrik N. Jusli

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A successor to the acclaimed 'Music and Emotion', The Handbook of Music and Emotion provides comprehensive coverage of the field, in all its breadth and depth. As well as summarizing what is currently known about music and emotion, it will also stimulate further research in promising directions that have been little studied.

FORMATPaperback LANGUAGEEnglish CONDITIONBrand New Publisher Description

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.

Author Biography

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 forthe 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 onthe 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 waselected to Fellowship of the British Academy. He is author of over 150 publications in the field of music psychology.

Table of Contents

Part I: Overture1: Patrik N.Juslin & John A.Sloboda: Introduction: Aims, organization, and terminologyPart II: Multidisciplinary Perspectives2: Stephen Davies: Emotions expressed and aroused by music: Philosophical perspectives3: Nicholas Cook & Nicola Dibben: Emotion in culture and history: Perspectives from musicology4: John A.Sloboda & 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 & 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 & Erik Lindstroem: The role of structure in the musical expression of emotions15: Robert Woody & Gary E.McPherson: Emotion and motivation in the lives of performers16: Dianna T.Kenny: The role of negative emotions in performance anxiety17: Patrik Juslin & 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 & Adrian C.North: Experimental aesthetics and liking for music20: Alf Gabrielsson: Strong experiences with music21: David Huron & Elisabeth Hellmuth Margulis: Musical expectancy and thrills22: Patrik N. Juslin, Simon Liljestroem, Daniel Vastfjall & Lars-Olov Lundqvist: How does music evoke emotions? Exploring the underlying mechanismsPart VI: Development, Personality and Social Factors23: Sandra E. Trehub, Erin E.Hannon & Adena Schachner: Perspectives on music and affect in the early years24: Peter J. Rentfrow & 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 & Laura-Lee Balkwill: Cross-cultural similarities and differencesPart VII: Applications28: Susan Hallam: Music education: the role of affect29: Michael H.Thaut & 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 & David J. Hargreaves: Music and marketingPart VIII: Encore33: Patrik N.Juslin & John A.Sloboda: The past, present, and future of music and emotion research

Review

Review from previous edition`Review from previous edition One of the major merits of the book, which I think deserves high praise, is its multidisciplinarity, showing that the link between music and emotion is broad and can be viewed from many different and equally valid points of view.'Journal of Consciousness Studies, Vol 11, No 2`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`. . . the editors commissioned an excellent selection of papers, which sit well together within one volume. As one would expect from the combined forces of Juslin, Sloboda and Oxford University Press, the standard of editing is excellent, chapters are thoroughly cross-referenced and the two indices (one for authors and one for subjects) are actually useful.'Psychology of Music`Review from previous edition One of the major merits of the book, which I think deserves high praise, is its multidisciplinarity, showing that the link between music and emotion is broad and can be viewed from many different and equally valid points of view.'Journal of Consciousness Studies, Vol 11, No 2`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`. . . the editors commissioned an excellent selection of papers, which sit well together within one volume. As one would expect from the combined forces of Juslin, Sloboda and Oxford University Press, the standard of editing is excellent, chapters are thoroughly cross-referenced and the two indices (one for authors and one for subjects) are actually useful.'Psychology of MusicReview from previous edition`Review from previous edition One of the major merits of the book, which I think deserves high praise, is its multidisciplinarity, showing that the link between music and emotion is broad and can be viewed from many different and equally valid points of view.'Journal of Consciousness Studies, Vol 11, No 2`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`. . . the editors commissioned an excellent selection of papers, which sit well together within one volume. As one would expect from the combined forces of Juslin, Sloboda and Oxford University Press, the standard of editing is excellent, chapters are thoroughly cross-referenced and the two indices (one for authors and one for subjects) are actually useful.'Psychology of Music

Long Description

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-disciplinaryperspectives 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 itskind, 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, itwill also attract interest from practising musicians and lay readers fascinated by music and emotion.

Review Text

Review from previous edition`Review from previous edition One of the major merits of the book, which I think deserves high praise, is its multidisciplinarity, showing that the link between music and emotion is broad and can be viewed from many different and equally valid points of view.'Journal of Consciousness Studies, Vol 11, No 2`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`. . . the editors commissioned an excellent selection of papers, which sit well together within one volume. As one would expect from the combined forces of Juslin, Sloboda and Oxford University Press, the standard of editing is excellent, chapters are thoroughly cross-referenced and the two indices (one for authors and one for subjects) are actually useful.'Psychology of Music`Review from previous edition One of the major merits of the book, which I think deserves high praise, is its multidisciplinarity, showing that the link between music and emotion is broad and can be viewed from many different and equally valid points of view.'Journal of Consciousness Studies, Vol 11, No 2`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`. . . the editors commissioned an excellent selection of papers, which sit well together within one volume. As one would expect from the combined forces of Juslin, Sloboda and Oxford University Press, the standard of editing is excellent, chapters are thoroughly cross-referenced and the two indices (one for authors and one for subjects) are actually useful.'Psychology of MusicReview from previous edition`Review from previous edition One of the major merits of the book, which I think deserves high praise, is its multidisciplinarity, showing that the link between music and emotion is broad and can be viewed from many different and equally valid points of view.'Journal of Consciousness Studies, Vol 11, No 2`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`. . . the editors commissioned an excellent selection of papers, which sit well together within one volume. As one would expect from the combined forces of Juslin, Sloboda and Oxford University Press, the standard of editing is excellent, chapters are thoroughly cross-referenced and the two indices (one for authors and one for subjects) are actually useful.'Psychology of Music

Review Quote

"The quality of the writing and editing is consistently high, the voluminous reference lists accurate, and the select reading recommendations at the conclusion of each essay helpful." -- Mark Germer, University of the Arts,Notes

Feature

A successor to a groundbreaking and highly successful earlier volume, but substantially expanded and broadenedContains scholarly reviews of a very wide range of subtopics, and hence can be used as a starting point for exploring the fieldProvides a range of multidisciplinary perspectives, helping to broaden the reader's view on the fieldFeatures detailed suggestions for further reading and can be used to design special courses on music and emotion

New Feature

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

Details ISBN0199604967 Publisher Oxford University Press Year 2011 ISBN-10 0199604967 ISBN-13 9780199604968 Format Paperback Imprint Oxford University Press Place of Publication Oxford Country of Publication United Kingdom Edited by Patrik N. Juslin DEWEY 781.11 Illustrations Illustrations Author John Sloboda Short Title HANDBK OF MUSIC & EMOTION Language English Media Book Audience Professional and Scholarly Pages 992 Publication Date 2011-03-17 Series Series in Affective Science Subtitle Theory, Research, Applications Affiliation School of Psychology, Keele University, Keele, UK UK Release Date 2011-03-17 NZ Release Date 2011-03-17 AU Release Date 2011-03-16 We've got this

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