| Reviews |
| - '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
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| Description | | - A new book in the acclaimed 'Series in Affective Science'
- The first multi-author book to tackle the complex relationship between music and emotion
- Edited by a leading authority in music psychology
- Emotion is a major growth area in psychology
| |
The position of emotion in music has been a subject of considerable interest and debate. However emotional aspects of music have received surprising little attention in the 45 years since the publication of Leonard Meyer's classic work 'Emotion and meaning in music.' During that time, both 'music psychology' and 'emotion' have developed as lively areas of research, and the time is fitting
therefore to try and bring together this multidisciplinary interest and take stock of what we now know about this important relationship. A new volume in the Series in Affective Science,
Music and Emotion; Theory and Research
brings together leading researchers interested in both these topics to present the first integrative review of this subject. The first section reflects the various
interdisciplinary perspectives, taking on board views from philosophy, psychology, musicology, biology, anthropology, and sociology. The second section addresses the role of our emotions in the composition of music, the ways that emotions can be communicated via musical structures, the use of music to express emotions within the cinema. The third section looks at the emotions of the performer -
how do they communicate emotion, how does their emotional state affect their own performance. The final section looks at the ways in which our emotions are guided and influenced while listening to music, whether actively or passively. Music and Emotion
is a timely book, one that will interest psychologists, musicologists, music educators, and philosophers.
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Readership: Psychologists, musicologists, music educators, philosophers
| Contents |
Introduction
1.
Music and emotion: introduction: Patrik N. Juslin and John A. Sloboda
Multidisciplinary Perspectives
2.
Philosophical perspectives on music's expressiveness: Stephen Davies
3.
Musicological approaches to emotion: Nicholas Cook and Nicola Dibben
4.
Psychological perspectives on music and emotion: John A. Sloboda and Patrik N. Juslin
5.
Listen to the brain: a biological perspective on musical emotions: Isabelle Peretz
6.
Anthropological perspectives on music and emotion: Judith Becker
7.
Aesthetic agency and musical practice: new directions in the sociology of music and emotion: Tia DeNora
8.
Music and emotion: perspectives from music therapy: Leslie Bunt and Mercedes Pavlicevic
The Composer
9.
Emotion and composition in classical music: historiometric perspectives: Dean Keith Simonton
10.
The influence of musical structure on emotional expression: Alf Gabrielsson and Erik Lindstrom
11.
Music as a source of emotion in film: Annabel J. Cohen
The Performer
12.
The subjective world of the performer: Roland S. Persson
13.
Negative emotions in music making: the problem of performance anxiety: Andrew Steptoe
14.
Communicating emotion in music performance: a review and a theoretical framework: Patrik N. Juslin
The Listener
16.
Emotional effects of music: production rules: Klaus R. Scherer and Marcel R. Zentner
18.
Emotions in everyday listening to music: John A. Sloboda and Susan A. O'Neill
19.
Emotions in strong experiences with music: Alf Gabrielsson
Postlude
20.
Music and emotion: commentary: John A. Sloboda and Patrik N. Juslin
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| Authors, editors,
and contributors |
Edited by Patrik Juslin, Department of Psychology, Uppsala University and
John Sloboda, Department of Psychology, Keele University
| Contributors:Judith Becker, School of Music, University of Michigan, USA
Leslie Bunt, Department of Music, Victoria Rooms, Queens Road, Bristol, UK
Annabel J. Cohen, Department of Psychology, University of Prince Edward Island, Charlottetown, Canada
Nicholas Cook, Professorial Research Fellow, Royal Holloway, University of London Stephen Davies, Department of Philosophy, University of Auckland, New
Zealand
Tia DeNora, Department of Sociology, University of Exeter, UK
Nichola Dibben, Department of Music, University of Sheffield, UK
Alf Gabrielsson, Department of Psychology, University of Uppsala, Sweden
Patrik N. Juslin, Department of Psychology, University of Uppsala, Sweden
Erik Lindstrom, Department of Psychology, University of Uppsala, Sweden
Leonard Meyer, New York, USA
Susan O'Neill, Department of Psychology, University of Keele, UK
Mercedes Pavlicevic, Music Department, University of Pretoria, South Africa
Isabelle Peretz, Department of Psychology, University of Montreal, Canada
Roland S. Persson, School of Education and Communication, Jonkoping University, Sweden
Klaus R. Scherer, Department of Psychology, University of Geneva, Switzerland
Emery
Schubert, School of Music and Music Education, University of New South Wales, Sydney, Australia
Dean Keith Simonton, Department of Psychology, University of California, USA
John A. Sloboda, Department of Psychology, University of Keele, UK
Andrew Steptoe, Department of Psychology, St George's Hospital Medical School, London, UK
Marcel Zentner, Department of Psychology, University of
Geneva, Switzerland
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limitation price, format, extent, number of illustrations,
and month of publication, was as accurate as
possible at the time the catalogue was compiled.
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