{"title":"Mirroring the Expression","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0020","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0020","url":null,"abstract":"This chapter considers a psychological mechanism that can arouse musical emotions called contagion. Contagion is something that people have experienced numerous times in everyday life — outside a musical context. For instance, some people can feel depressed after a conversation with someone who is depressed. Emotional contagion refers to a process whereby an emotion is induced by a piece of music because an independent region of the brain reacts to certain acoustic features as if they were coming from a human voice that expresses an emotion, which leads the listener to mirror the emotional expression internally. The contagion mechanism is strongly related to the emotional expression of the music.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":" 545","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131977967","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 Value of a Psychological Approach","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0003","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0003","url":null,"abstract":"Psychology is commonly defined as the study of mental processes and behaviour. The main focus is on describing and explaining how people sense the world (perception), how they think (cognition), feel (emotion), and behave (action). Music psychology focuses on mental processes and behaviours that occur in connection with music: it aims to observe, and develop theories about, the processes involved in composing, performing, and listening to music. This chapter argues that at its core, the study of music and emotion is concerned with relationships between ‘musical events’ and ‘emotional responses’.The interface between them consists of psychological processes in the human mind. Thus, psychology is key to understanding how and why a listener goes from ‘sound’ to ‘significance’.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"107 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":"116465342","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":"How does Music Arouse Emotions?","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0017","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0017","url":null,"abstract":"This chapter considers the question of how music arouses emotions. It is a question with far-reaching implications for other issues about music and emotion. Which emotions does music arouse? Which brain regions are involved in this process? When do musical emotions develop? Are they universal or culture-specific? What is the relationship between perceived and aroused emotions? Are musical emotions somehow unique? The answers to these questions are all linked to the ‘how’ question: They cannot be answered satisfactorily without understanding the psychological processes through which the emotions come into being. The chapter suggests that previous attempts to explain musical emotions have succeeded to different degrees in this task. These attempts can be divided into three categories, referred to ‘the good, the bad, and the ugly’.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"98 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":"124889211","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":"Breaking the Code","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0008","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0008","url":null,"abstract":"Having established that expression and perception of emotions are important phenomena in music, this chapter takes a closer look at how psychological processes actually work. A first step is to consider the musical features. Which are the relevant features? How do they co-vary with specific emotion categories and dimensions? How are they modulated by musical style, culture, and historical context? It is a recurring notion from Ancient Greece that there are systematic relationships between musical structure and expression of emotions. Modern studies, however, differ from previous treatises by using psychological experiments to uncover ‘causal relationships’ between musical features and perceived emotions. The chapter focuses on the five emotions most frequently studied thus far (sadness, happiness, anger, tenderness, and fear). It also considers how musical features correlate with broader emotion dimensions, such as tension, arousal, and valence.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"145 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":"117060084","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":"How are Music and Emotion Links Studied?","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0009","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0009","url":null,"abstract":"This chapter considers ways to establish links between musical features and specific emotions. The first step is usually to conduct an experiment, in which listeners rate the emotional expression of different excerpts of music — either music from commercial recordings or pieces created specifically for the study. The next step is to extract musical features associated with emotion categories. This can be done in four ways: analyzing the musical score of the pieces; relying on experts, such as music theorists and musicians, asking them to rate various aspects of the musical structure; measuring acoustic parameters of the music (e.g. sound level, timing, frequency spectrum of the timbre), using dedicated computer software; and manipulating specific musical features in synthesized (computerized) performances, to evaluate how they influence a listener's judgments of emotional expression.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"14 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":"126037974","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’s Special?","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0028","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0028","url":null,"abstract":"This chapter considers the notion of aesthetic attitude. It asks: how can we be sure that there is such a thing as an aesthetic attitude? Is there evidence that our perception of an event or object can change depending on the attitude we adopt towards it, or that there is a change in brain activity? Few music psychologists have adopted the position that aesthetic responses are distinct or that they involve an aesthetic attitude. Therefore, to investigate these notions in more detail, and to understand the kind of perceptual dimensions that may come into play, the chapter turns to a neighbouring field for guidance, i.e. philosophical aesthetics.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"25 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":"123688131","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":"Jumping at Shadows","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0018","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0018","url":null,"abstract":"This chapter introduces a psychological mechanism that involves a close link between perception and motor behaviour. It focuses on a mechanism called the brain stem reflex, which refers to a process whereby an emotion is aroused in a listener because an acoustic feature — such as sound intensity or roughness of timbre — exceeds a certain cut-off value for which the auditory system has been designed by natural selection to quickly alert the brain. It is a kind of ‘override’ system, which is activated when an event seems to require first-priority attention. Brain stem reflexes are said to be ‘hard-wired’: they are quick, automatic, and unlearned.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"99 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":"127110489","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 Prevalence of Emotional Reactions","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0016","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0016","url":null,"abstract":"This chapter looks at the prevalence of specific emotions. The issue was initially mostly a matter of speculation among researchers — often based on personal experience, and sometimes slipping into the treacherous territory of debating what people ought to experience, rather what they actually do experience. However, over the last ten years or so, a large number of empirical studies have addressed the question empirically. The results accumulated to date suggest the following three conclusions: music arouses mostly positive emotions; music may arouse both basic and complex emotions; and certain emotions occur more frequently and consistently than others.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"11 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":"127547934","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":"Aesthetic Criteria","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0029","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0029","url":null,"abstract":"Based on proposals from philosophical aesthetics and on preliminary research findings, this chapter suggests that listeners' aesthetic criteria for music will tend to include, but not be limited to, eight broad dimensions, each of which is discussed in turn. These include beauty, expression, novelty, emotion, skill, message, style, and the sublime. There is something to be said for each of these eight criterion candidates for aesthetic value: music lacking in expression is not art at all; music without beauty is not easy to like; music without novelty is not interesting; music without skills is mediocre; music that does not arouse emotions fails to produce embodied experiences; music that lacks stylistic unity is incoherent; music without a message or intention is empty; and music that is not sublime will not change your life. In contrast, music that manages to cover all these criteria is very likely to be judged as aesthetically valuable.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"446 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":"125770923","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":"A Novel Approach Towards Aesthetic Judgment","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0030","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0030","url":null,"abstract":"This chapter considers a more complete description of the judgment process, in order to pave the way for the explanation of how aesthetic judgments may produce both preferences and emotional states. It proposes a novel approach that takes philosophical aesthetics as its point of departure — but that adopts a descriptive (as opposed to normative) and empirical (as opposed to speculative) perspective, and that takes individual differences explicitly into consideration, instead of ignoring them. A preliminary psychological model is needed to guide the exploration. Aesthetic judgment is regarded as one of the psychological mechanisms through which music may arouse emotions. Thus, before describing the model, the chapter situates the mechanism within the broader BRECVEMA framework.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"6 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":"117067089","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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