{"title":"Blast from the Past","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0022","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0022","url":null,"abstract":"This chapter considers the psychological mechanism known as episodic memory. Episodic memory is defined as a process whereby an emotion is induced in a listener because the music evokes a personal memory of a specific event in the person's life; when the memory is evoked, so is also the emotion associated with the event. The emotion can be intense, perhaps because the physiological response pattern to the original event is stored in memory, together with the experiential content. Episodic memory requires detached mental representations (i.e. representations of events or objects that are not currently sensed in the external world) and a sense of self, which ties together the individual episodes. Episodic memory is also an important aspect of what it means to be human.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"87 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115636974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"What is Meant by Emotional Expression?","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0005","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0005","url":null,"abstract":"This chapter sets out the aims and objectives of Part 2 of this book, which is to take a closer look at a phenomenon that is almost universally acknowledged across the disciplines — namely, that music is heard as expressive of emotions by listeners. It addresses the following questions: Why is music perceived as expressive of emotions? Can musicians actually convey emotions to listeners? Which emotions does music express? How are the different emotions expressed? What is the role of the performer? Are there cross-cultural similarities in how the emotions are expressed? How is emotional expression related to the human voice? Can a computer express emotions? How is music able to convey complex emotions? Why are some authors critical of regarding music as the expression of emotions?","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123427351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Seeing in the Mind’s Eye","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0023","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0023","url":null,"abstract":"This chapter considers the psychological mechanism known as visual imagery. Visual imagery is defined as a process whereby an emotion is evoked in the listener because he or she conjures up inner images while listening to the music. Images might come about in three ways. First, mental imagery may occur when listeners conceptualize the musical structure through a nonverbal mapping between the metaphorical ‘affordances’ of the music and image-schemata grounded in bodily experience. A second type of imagery might occur when a listener brings to a listening experience certain types of knowledge or myths about the circumstances surrounding the creation of the piece or about the artist in question. Thirdly, a music listener can create images based on how certain aspects of the music mirror aspects of the listener's current life experience.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115801176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Last Chorus","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0032","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0032","url":null,"abstract":"This chapter provides a synthesis of the discussions in the preceding chapters. It suggests that having read the previous chapters, readers will agree that little more can be said about musical emotions these days. However, much work remains to explore and understand fully the manifold mechanisms involved. Even now, it is possible to suggest possible ways of explaining how these mechanisms could produce some of the most complex and rewarding emotions experienced with music in daily life. The chapter also considers another paradox of music and emotion, which needs to be resolved: People tend to avoid experiencing sadness in everyday life, yet they seem to find the experience of sadness pleasurable in music listening.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"202 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132965506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aesthetics and Affect in Broader Perspective","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0031","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0031","url":null,"abstract":"This chapter broadens the perspective and discuss some questions raised by the model outlined in Chapter 30. Are aesthetic judgments reliable? Do listeners agree in their ratings of pieces of music? How is aesthetic judgment influenced by the social context? What role does music preference play in emotional responses? Should we distinguish between utilitarian and aesthetic uses of music? To address these issues, there is a need to measure aesthetic judgments using a statistical technique called multiple regression analysis. Judgment analysts use multiple regression models to capture how individual raters combine multiple differentially-weighted bits of information (‘cues’) to arrive at an overall judgment.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"214 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133771161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Beyond Perception","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0014","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0014","url":null,"abstract":"This chapter sets out the aims and objectives of Part 3 of this book. It considers a fourth paradox regarding music and emotion: Music — an abstract form of art which appears removed from our concerns in everyday life — may arouse emotions — biologically evolved reactions related to human survival. Resolving this paradox may require abandoning some common conceptions about music and emotion, which have prevented a deeper understanding. The following questions are addressed: Does music really arouse emotions? If so, how do we know? Which emotions music arouses? Are these emotions different from other emotions? In which settings do emotions occur? Why and how does music arouse emotions? Why do ‘live’ concerts tend to arouse stronger emotions than recorded music? Why do different listeners react differently to the same piece of music? Are the emotions aroused by music in the same way across cultures?","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126832795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Music as Expression","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0007","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0007","url":null,"abstract":"Chapter 6 demonstrated that there is some agreement among listeners about what emotion pieces of music express, and that music performers may communicate at least some emotions to listeners in a reliable manner. Yet such findings do not by themselves prove that this is how musicians or listeners conceive of music. This chapter addresses problems and objections surrounding the notion of music-as-expression-of-emotions. There are scholars who are strongly critical of this view on music. Issues concerning expression, communication, and emotion tend to invite controversy, and some authors go to extreme lengths to reject any link between music and emotion. One example of a critical voice can be found in an essay by philosopher Nick Zangwill (2004). He argues that, ‘it is not essential to music to possess emotion, arouse emotion, express emotion, or represent emotion. Music...has nothing to do with emotion’.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121710316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Book’s Composition","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0002","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0002","url":null,"abstract":"This chapter provides an overview of the book's main themes. Based on insights from a 20-year quest to unravel the mysteries of music and emotion,it is argued that real progress can only be achieved if we accept a number of basic premises about music and emotion. These premises constitute several themes, which will reoccur throughout the book. These themes are as follows: emotions depend on evolved mechanisms; music engages multiple emotion mechanisms; there are definitive limits to human introspection; emotional responses to music are intrinsically social; musical emotions depend on music-listener-situation interactions.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121600560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Deviation from the Exact","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0013","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0013","url":null,"abstract":"This chapter focuses on performance. It asks: what does it really mean to perform a piece of music? What is it that a performer is ‘adding’ to make a musical score ‘come alive’, and sound musical and expressive? It argues that expression derives from five main sources, collectively referred to as the GERMS model: generative rules (G) that mark the structure in a musical manner; emotional expression (E) that serves to convey emotions to listeners; random fluctuations (R) that reflect human limitations in motor precision; motion principles (M) which hold that tempo changes should follow natural patterns of human movement, such as gestures; and stylistic unexpectedness (S) that reflects a performer's deliberate attempt to deviate from stylistic expectations regarding performance conventions to add tension and unpredictability to the performance.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133583692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Voice of Angels?","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0011","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0011","url":null,"abstract":"The previous chapters outline a number of musical features that may be used to express emotions, such as happiness and tenderness, and show that these features have certain characteristics that constrain their use. This chapter explains why and how the features come to denote emotions in the first place. Such an account can help resolve the second paradox of music and emotion. Some authors regard musical expression as something ‘subjective’ and ‘ambiguous’, whereas others as something that involves a great degree of inter-individual agreement. Exploring how musical expression actually ‘works’ shows that there is some truth to each of these perspectives.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116753877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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