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