{"title":"Further Layers","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0012","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0012","url":null,"abstract":"This chapter first reviews the notions of intrinsic coding and associative coding. It then considers how these may be combined to produce musical expression of emotions, both basic and complex emotions. It suggests that there are some prototypical musical emotions frequently expressed in music, which are linked to the ‘functions’ of music in our evolutionary past. It proposes a list of seven ‘prototypical’ emotions which are expressed often in music: happiness (festive songs), sadness (mourning), love-tenderness (lullabies and tender love songs), anxiety (existential fears in life), nostalgia (social/cultural identity), anger (protest and war songs), spirituality-solemnity (religion), and sexual desire (mating).","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"101 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":"133862654","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, Experience, and Affect","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0004","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0004","url":null,"abstract":"This chapter explores the relationship between emotions and music. It argues that of all the various affective states that music can arouse, none is more important than the emotions. To the degree that music affects moods, these are less likely than emotions to be remembered (since intense affective reactions are remembered better), and will have a weaker impact on subsequent behaviour. The chapter highlights a distinction of key importance for the field, which may be traced to ancient Greece and is encountered in both Western and non-Western cultures. On the one hand, a person may simply perceive (or recognize) a certain emotion ‘expressed’ or ‘represented’ in the music. On the other hand, a person may actually feel an emotion.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"15 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":"134190621","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":"Setting the Stage","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0001","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0001","url":null,"abstract":"This chapter sets the stage by introducing the field of music and emotion. It addresses the following questions: Why do musical emotions matter? Why did Freud not enjoy music? Studies show that in both ‘primitive’ cultures and modern society, a considerable amount of time is spent on singing, music, and dance. And it is not just time: According to musicologist David Huron (2001), people in North America spend more money on music than on prescription drugs. There are a number of theories about the possible origin and function of music, for instance that music originally served a purpose in parent-infant bonding, language acquisition, work coordination, transmission of cultural knowledge, sexual courtship, or social coherence. There are also theories which claim that music served no purpose at all.","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":"115816580","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 Comes Next?","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0024","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0024","url":null,"abstract":"This chapter discusses the notion of musical expectancy. Musical expectancy is defined as a process whereby an emotion is aroused in a listener because a specific feature of the music violates, delays, or confirms the listener's expectations about the continuation of the music. Every time the listener hears a piece of music, he or she has such expectations, based on music he or she has heard before. For example, the sequential progression of E-F# may set up the expectation that the music will continue with G#. In other words, some notes seem to imply other notes; and if these musical implications are not realized — if the listener's expectations are thwarted — an affective response might be induced.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"39 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":"124996435","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":"Viewing Music Through a Brunswikian Lens","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0010","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0010","url":null,"abstract":"This chapter considers a third paradox regarding musical emotions. Emotions can generally be communicated accurately from a musician to a listener based on musical features, despite the fact that different circumstances offer very different features to the performer's and listener's disposal. It pays particular attention to Egon Brunswik's theory of visual perception, i.e. his so-called ‘lens model’, which sought to depict the relationship between an ‘organism’ and its ‘environment’, and, in particular, how visual impressions are ‘mediated’ by a number of imperfect ‘cues’ in the environment that the organism is utilizing to make ‘inferences’ about perceptual objects.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"15 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":"133793766","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":"Predictions, Implications, Complications","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0025","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0025","url":null,"abstract":"This previous chapters looked at eight psychological mechanisms through which music might arouse emotions. This chapter widens the perspective and considers some of the implications of this multi-mechanism framework. It explains the need to distinguish between the mechanisms in both research and applications. It also addresses some more general questions raised by the previous chapters. With such a large number of mechanisms, why does music not always arouse emotions? Why do different listeners react differently to the same piece of music? How does the context influence musical emotions? Why do ‘live’ concerts tend to arouse more intense emotions than recorded music? Are emotional reactions to music similar across different cultures?","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":"132318994","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":"Traditional Approaches to Aesthetics","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0027","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0027","url":null,"abstract":"This chapter focuses on empirical aesthetics, which can be regarded as one of the oldest subfields in psychology. The most important contribution to the domain was made by the scholar Daniel Berlyne, who launched the ‘New Empirical Aesthetics’. In accordance with the prevailing ‘Zeitgeist’ of the 1960s, Berlyne focuses mainly on the notion of autonomic arousal as opposed to discrete emotions; he notes that art influences its perceivers mainly by manipulating their arousal. Berlyne further suggests that listeners' preferences are related to arousal in the form of an inverted U-shaped curve, sometimes referred to as the Wundt curve. The chapter then discusses what empirical aesthetics has contributed to the understanding of aesthetic responses to music.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"53 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":"116720176","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":"Get Into the Groove","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0019","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0019","url":null,"abstract":"This chapter considers a psychological mechanism that can arouse musical emotions called rhythmic entrainment. If brain stem reflexes focus on music as sound and sensation, entrainment focuses on rhythm. This is a primary feature of life. After all, we live in a rhythmic environment (e.g. seasons of the year, periods of daylight and dark), and our bodies are ‘symphonies of rhythm’, as reflected in processes such as heart rate, brain waves, and sleeping patterns. Rhythmic entrainment refers to a process whereby an emotion is evoked by a piece of music because a powerful, external rhythm in the music influences some internal bodily rhythm of the listener (e.g. heart rate), such that the latter rhythm adjusts towards and eventually ‘locks in’ to a common periodicity.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"103 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":"124158954","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":"Empirical Studies","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0006","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0006","url":null,"abstract":"This chapter considers a second paradox in the study of music and emotion: Some scholars regard ‘expression’ as something vague and flexible — almost idiosyncratic. In contrast, other authors seem to view expression as something far more precise, something for which terms like agreement and accuracy seem appropriate. To resolve this paradox, one must look closer at what different scholars could possibly mean when they say that music is expressive of a specific emotion — or, more importantly, how they measure it. Even if we limit ourselves to the listener's side of the equation, and focus purely on perceived (as opposed to felt) emotion, there are still many different ways of approaching this phenomenon empirically.","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":"133296764","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":"Does Music Arouse Emotions? How do We Know?","authors":"P. Juslin","doi":"10.1093/OSO/9780198753421.003.0015","DOIUrl":"https://doi.org/10.1093/OSO/9780198753421.003.0015","url":null,"abstract":"Many researchers consider emotional reactions to music to be of major importance. However, the notion that music arouses emotions has been the subject of controversy — much more so than the notion that music is heard as expressive of emotions. The first part of the book defined emotion partly in terms of various ‘components’ that together constitute an ‘emotion episode’. Any attempt to answer whether music can arouse emotions should then proceed from this definition: To what extent might listening to music produce reactions in the different components of emotion? This chapter examines the components one by one: feeling, expression, psychophysiology, neural activation, action tendency, and regulation, also collectively referred to as the FEPNAR components.","PeriodicalId":227459,"journal":{"name":"Musical Emotions Explained","volume":"49 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":"114556141","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}